Album Review: Goldfrapp - Head First (4/5)

As a synth-pop group, the '80s have always been a reference point for Goldfrapp, but on Head First, they deliver a literal reading of that decade's now ubiquitous sound. This album's '80s influence is definitely early '80s; in fact, I think I can peg most of it specifically to 1983, the year of the Flashdance soundtrack, the Eurythmics' Sweet Dreams and Madonna's debut.

It's a welcome shift from the underwhelming synth-folk of their last album, Seventh Tree, which delivered a few good songs but didn't live up to the bar set by their amazing second and third albums, Black Cherry and Supernature. However, that Head First is so clearly derivative also handicaps it a bit. While their best albums were original syntheses of pop, dance and electro, lots of acts these days are making '80s-clone albums (like last year's phenomenal debut from La Roux). Thus Head First finds Goldfrapp joining the pack, rather than leading it.

Yet there's plenty to enjoy here, and it's nice to welcome Alison and Will back to the dance floor. The album opens with a trio of winning dance pop songs: "Rocket" is the shimmery first single, while "Believer," with its killer chorus, is even better. "Alive" sounds like its got an even earlier influence--disco. The album sags a bit with its slower, darker songs, like "Dreaming" and "Hunt," but picks up again with synth-heavy "Head First" and undeniably great "I Wanna Life."

Also harking back to the early '80s is the album's length. It's just nine songs, which was much more common back then. I have no problem with that. I like a short, tight album that delivers the best rather than giving us too much filler. Head First isn't all wonderful, but there's quite a bit to like.

Best: Believer, I Wanna Life, Rocket, Head First, Alive

This and That

Sugababes' 7th album Sweet 7 came out yesterday, and its looking to be the first Sugababes album I don't buy. The reviews are not great, the singles have been ho-hum--they aren't what they used to be--quite literally actually. Such a shame. Last week walking home one day I was listening to their 2003 album, Three, and thinking about how many great album tracks it had that would have been great singles--"Million Different Ways," "Conversation's Over," "Whatever Makes You Happy." How far they have fallen.

Making up for this bit of sadness are the tracks I've heard from Goldfrapp's new album out next week, Head First. I'm really enjoying what I hear, and I think this will make up for Seventh Tree, which was okay, but not as good as any of their prior albums.

Apparently, "Talk Me Down," isn't going to be Westlife's next single. Too bad. There isn't anything on the new release calendar from that at the moment. This is very strange. "What About Now" was a #2 hit and hang around the chart for quite awhile. So why isn't their album being promoted?

Kelly Clarkson's "All I Ever Wanted" just entered the pop radio top 50. I was concerned it was going to flop, as I'd have expected it to show up by now. My fears are thankfully for naught, as it rockets up from #82 to #50. Should be in the top 40 next week.

Goldrapp "Rocket"

Goldfrapp jumps on the '80s bandwagon with their new single, "Rocket." This really pushes their electro-pop sound into the new wave revival. Hear it at MySpace. This is first single from their upcoming fifth album, Head First, out March 22.

Best of 2000s: Goldfrapp - Supernature (4.5/5)

With their third album, Supernature, Goldfrapp broke through to mainstream success, having incorporated more pop and dance elements into their moody electronic mix. It's not a drastic departure from Black Cherry, which remains their best album, but just enough to make them more accessible. The move allowed the duo to score their first UK top 10 hits--with blasting dance number "Ooh La La" and then with mellower '80s-tinged "Number one." Despite all the upbeat moves, "Time Out from the World" finds them at their dreamy downbeat best, while "Satin Chic" shows how nicely their usual quirks can blend with a great hook.

Best: Satic Chic, Ooh La La, Time Out from the World, Ride a White Horse, You Never Know

Best of 2000s: Goldfrapp - Black Cherry (4.5/5)

Goldfrapp followed their dreamy downbeat debut with an even better second album of stomping electro-pop, replacing the ethereal loveliness of signature tracks like "Lovely Head" with sexy disco romps like "Tiptoe" and "Strict Machine." But mellower tracks like "Hairy Trees" and "Forever" show that even while exploring their new sound, Goldfrapp can still chill.

Best: Tiptoe, Strict Machine, Hairy Trees, Crystalline Green, Train, Black Cherry

Best of 2000s: Goldfrapp - Felt Mountain (4.5/5)

Goldfrapp's debut was a slinky introduction to the duo's divine sense for John Barry-esque melodies (isn't it a shame Goldfrapp hasn't been tapped to do a Bond theme?). While later works Black Cherry and Supernature pumped up the tempo and stomping electronica, this more subdued set's highlights are the otherworldly beauty of tracks like "Lovely Head" and "Pilots" that sound really good late at night. For something with a little more kick, "Utopia" is also quite satisfying, as is the loungy "Human." The only downside are the oddly carnival-like "Oompa Radar" and the incoherent title track.

Best: Lovely Head, Utopia, Pilots, Human, Deer Stop

Album Review: Goldfrapp - Seventh Tree (4.5/5)

Goldfrapp, the British duo of Alison Goldfrapp and Will Gregory, drew quite a following off their last two albums, Black Cherry and Supernature, which were most memorable for their hard-hitting, synth-laden glam pop. I love both albums, as well as their mellower debut, Felt Mountain.


For Seventh Tree, the band's fourth outing, they've extinguished the disco stomp. there's no "Ooh La La" or "Strict Machine" here. In its wake they've returned to the odd psychedelia that permeated Felt Mountain, revisiting that album's emphasis on creating purely lovely melodies. Seventh Tree is comprised primarily of the kind of songs that formed a counterpoint on the last two albums, atmospheric tracks like Black Cherry's "Hairy Trees" or Supernature's "Time Out from the World." The lyrics may not make any sense ("only clowns would play with those balloons"...huh?), but the beauty of the music speaks for itself.


First track "Clowns" and first single "A&E" are perhaps the two loveliest songs Goldfrapp has ever crafted. "Clowns" in particular is such a lovely, gentle blend of acoustic guitar and strings. "A&E" is a very different sound for Goldfrapp, even on this record. Unlike most of the other songs, the lyrics are clearly distinguishable, even if their meaning is still muddled--something about going to the metaphorical emergency room ("A&E"=Accident and Emergency, not arts and entertainment). There are no clues in the second verse to the story set up in the first, for it is identical. For this subject matter the sound is surprisingly upbeat, blending piano, guitar, synths and percussion to a mid-tempo beat. It's the most obviously radio friendly track they've ever done.

Goldfrapp have long had an affinity for the kind of swelling strings composer John Barry used for scoring the James Bond movies, and its been noted in the past that the band's music is sometimes reminiscent of this. Several of this album's tracks, including "Clowns" as well as "Eat Yourself" and "Cologne Cerrone Houdini" exhibit these touches. Static crackles over "Eat Yourself" like an old record. This is another highlight, starting with acoustic instruments and bass, adding in harpsichord and eventually strings near the end. "Cologne Cerrone Houdini" opens with bass guitar and synth bursts, building with warm Barry-esque chords during the chorus.

"Happiness" is another highlight. It is one of the album's peppiest track, featuring a blend of keyboards and vocal effects that stomp along to insistent drums and hand claps. "Caravan Girl" also kicks up the beat over synths and piano. "Some People," one of the album's slowest tracks, opens simply with piano and vocals, building through the chorus with lush strings and synths. The only track that doesn't do it for me is "Little Bird," which is just a little too folksy.

Despite what I said about the lack of disco, don't think that Seventh Tree is a radical departure. Many of the same elements from their previous work--the moody atmosphere, the Barry-esque soundscapes--show up here, and a track like "Happiness" embodies the same insistent beat as songs like "Satin Chic" or "Train," albeit a bit toned down. Sure there are fewer beats and less dial twiddling, but the strength of their musical instinct remains fully intact.

Best: Clowns, A&E, Happiness, Eat Yourself, Cologne Cerrone Houdini, Some People

Preview Goldfrapp's Seventh Tree

You can preview Goldfrapp's entire new album Seventh Tree, out Monday, on myspace.

I'm very excited about this new album. "Clowns" is such a gorgeous track, and I'm already a big fan of the first single, "A&E."