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indie-snob>+!#
black cherry by goldfrapp
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7.1 "Black Cherry" by Goldfrapp Alison Goldfrapp, the firey red-haired singer of the band Goldfrapp (consisting of her and several electronic colloborators), released her 2000 debut, Felt Mountains, with open arms. The singer's jazzy take on low-tempo, dramatic electronic ballads gave her Trip-Hop cred out the wazoo (whatever that means) and spawned comparisons trip-hop legends Portishead. Felt Mountains was a dehumanizing blend of noisy electronics and Alison's soulful singing, making the album somehow surreal and beautiful, perfect for that Winter afternoon hike in the mountains. The album remained tragically beautiful as Alison seemed to imitate wildlife white the background fumbled over strings, analog synthesizers and clean melodies. Her jazzy singing seemed to contrast so brilliantly with the backgrounds occasionally that it became brilliant, a mild juxtaposition to the natural and the machine. Overall, their debut was brilliant, soothing, and a superb, original album. I suppose I awaited fairly eagerly for the follow-up, something to measure up to the beauty present in Felt Mountain. So, as it became closer to the release date, Goldfrapp's street team hit Chicago, postering all over the Chicago scene hotspots (every night at the Metro was Goldfrapp sticker night... and I grabbed several posters), but from the very first moments, we became to see a far sexier side of Alison Goldfrapp. Once photographed in a mountain shed with earmuffs and a large white down coat, she now lays on a chase lounge with several huskie dogs by her side. The album's opener, "Crystalline Green," already began to show the sexier side of Goldfrapp, sleazy electronics and pop star vocals, I somehow wasn't directly impressed. Unfortunately, this carried out through the rest of the album. Alison's voice seems to howl less, and stick with the basic lyrics and melodies, versus the abstract sounds she once used in her songs. Only several tracks seem to bring back the beauty that was Alison's voice, including "Forever," "Strict Machine" and the title track, "Black Cherry." Many of the other tracks, though, highlight this new, sexier Goldfrapp (sheesh, has everyone gone electro-clash?). Most notably is the innuendo-filled "Slippage," even complete with orgasmic moans. The songs have become more clearly darker, instead of the unsettling feeling the debut left. The once jazzy instruments have left, leaving the entirety of most songs up to cold synthesizers and techno drum beats. The fact remains, though: Alison has a wonderful voice. It whispers quietly, transforming into shrill screams, on par to, say, that of Bjork. Alison's voice remains the highlight and the star of any Goldfrapp album... I just believe that it could be showcased better than it has been here. Nonetheless, this is still a good album and full of aural candy, but just a little more sugar-coated than ever before. (And I'll always love female-led electronic music... *drools*) For Fans of: Black Box Recorder, Portishead, Bjork, Liz Phair (they share a dirty mind and a haunting voice), Peaches, Miss Kittin, and maybe someone more like the Yeah Yeah Yeahs |