Supernature was first released in September 2005, but its record company held its US release until this week. After 6 months of listening to this, I like it more everyday, and I'm glad to see that Goldfrapp is finally achieving some commercial success with their third album. First single, "Ooh La La," became their first UK top 10 hit, followed by a second top 10 hit "Number 1."
Goldfrapp, made up of Allison Goldfrapp and composer Will Greggory, first appeared on the scene in 2000 with Felt Mountain, a collection of off-beat, atmospheric electronica that was quickly billed as chic dinner party music. It's follow-up, Black Cherry, drew from this sound, but expanded it into the harder realm of '80s-inspired electro. Since then, Goldfrapp has attracted a number of imitators, including the mainstream (and surprisingly decent) work of former S Club 7 singer Rachel Stevens.
Supernature doesn't stray too far from the territory of their last album, Black Cherry, but refines that sound, making it more accessible. Tracks on this album work as songs moreso than those on Black Cherry, which sometimes were more like electro compositions. "Ooh La La" owes more than a little to Cherry's "Strict Machine," but amps up the sex appeal. "Lovely to C U" is decent, but "Ride a White Horse" shines as one of the albums best tracks. Introduced by a continuous bass pulse over which other sounds layer and build, "Horse," along with "Ooh La La" and "Satin Chic" are standout tracks. "Satin Chic" starts out like it's going to be another round of Satanic circus music (ala Mountain's "Oompa Radar"), but quickly shows that it's so much more. The song's downbeat is stronger than its upbeat (is that correct musical theory? who knows). There's also a great '20s-era type piano going on. Lately, I've really really been into this track, and am happy to see it's slated as the album's fourth single.
If you're in the mood for the mellower old school Goldfrapp, that's here too. "Time Out From The World" resembles Cherry's "Hairy Trees," a sexy downbeat electronic ballad. "Let it Take You," is a similar sounds good at 3 a.m. groove. There's little to not like here. "You Never Know," is simple, yet effective, with plodding electronic keyboard chords. "Fly Me Away," sounds like something I've heard in a travel agency TV advertisment (a really clever one, of course). "Slide In" layers the '80s keyboards and electro whizzes to impressive effect. "Number 1"is sufficiently retro too, and an effective closer.
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