Goldfrapp - Supernature
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Music CD Cover
Artist: GoldfrappBrand: Baker & Taylor
Edition: Music CD
CD Release Date: 2006-03-07
Music Label: Mute U.S.
Soundtracks:
- OOH LA LA
- LOVELY 2 C U
- RIDE A WHITE HORSE
- YOU NEVER KNOW
- LET IT TAKE YOU
- FLY ME AWAY
- SLIDE IN
- KOKO
- SATIN CHIC
- TIME OUT FROM THE WORLD
- NUMBER 1
- BEAUTIFUL* (*bonus track)
Free Music Notes for Supernature
Free Music Review: A Supernatural Achievement
Hit: 5 Stars
One of my favourite albums of last year was Goldfrapp's incredible third album "Supernature." Released in August 2005, the album stormed to No.2 in the UK album charts and has since gone platinum and spawned a slew of chart hits. The album was originally intended to be released in America soon after, but this release date got postponed until March 2006! That means I've been waiting seven months to review this absolute little beauty of electro-glam pop-rock. With the release of this album Goldfrapp have gone on to become one of the most loved and treasured bands in the UK, and their incredible rise in popularity was well deserved.
On this album, Alison Goldfrapp and Will Gregory took all the elements of their sophomore "Black Cherry" and re-energised it into this wonderful and high-speed concoction of disco pop wizardry. The sound of Goldfrapp has gradually evolved, becoming more commercial with each stunning album. Some say they've sold out, but I disagree. It's only natural for a band of Goldfrapp's calibre to expand and widen their horizons. They were already critics darlings from the word go, and it was only a matter of time before the general public caught on. Hopefully this album will push Goldfrapp into the stratosphere and onto the upper reaches of the Billboard Hot 100. However, with singers like James Blunt currently occupying the No.1 spot, I won't hold my breath.
The album opens with the lead single, "Ooh La La." This song became a huge chart smash in August 2005, peaking at No.4 on the UK charts. The song was used in adverts and promos, became a mainstay on national radio and seemed to be played on music channels every other minute. The beat to this song bubbles with an electric buzz that is pure Goldfrapp. The guitars are wonderfully, Alison's vocals dripping with sex and vigour. The instrumental section in the middle is an all-out riot and I go crazy in clubs dancing to that particular piece! "Lovely 2 C U" is another brilliant song that leads on where the last left off. This song is almost rocky with heavy screaming vocals and guitars that surge through your ears like a steam train. The electro-crunches make this song so unique, but it pales in comparison to the beauty that follows. The song is "Ride A White Horse," the third single to be released from the album. Opening with a funky beat, the song soon morphs into a glitter-ball aural wonderland with bright synths colouring the musical canvas and Alison's breathy vocals lifting the chorus to levels of beauty unmatched by the band previously. This could well be the pinnacle of the band's career. It's very camp and metro, made all the more evident by the whip-cracks just before the second chorus explodes. It's clocked up more than 130 plays on my iTunes and this number will only grow higher and higher!
"You Never Know" opens with screechy early Kate Bush vocals, although not quite as operatic. This song is memorable for its stop-start technique that works very well. It reminds me somewhat of a blend of "Tiptoe" and "Hairy Trees" from the previous album. The beat is wonderful and builds until a high climax of airy musical excellence. "Let It Take You" is the album's main slow song and what a song it is. This is a chance for you to kick back and relax to the gorgeous Bond-style strings that seep out slowly over Alison's seductive vocal stylings. The strings build to an expansive height at the third minute and there's a sense of release which is almost erotic. The strings are pretty heavy all the way through and pound over and over like a bell chiming to your soul. If this song were a colour it would be black, with occasional swathes of white.
"Fly Me Away" is a step down from the previous songs, but it's still a catchy pop song with a strong beat and vocal melody. The lyrics aren't up to much and Goldfrapp have definitely done a lot better, but it still works in context with the album and somehow makes me feel like I'm flying. "Slide In" is a very suggestive title for such a brilliant song. The beat starts off and soon spirals down as synths seem to drive in from every angle. This builds with breathy vocals up until the 37th second when this *incredible* beat just hits you and will have you up dancing in no time. The way its formed is just pure genius and it hits me like a hammer to the head every time I hear it. The chorus is chunky and bulky with more electro dance sonics for you to feast on than you could ever hope for.
"Koko" is another incredible song which I adore purely for the vocal melody. It opens beautifully with at-first indecipherable vocal lines from Alison, which soon become clearer as she sings, "Breathe! Back! Into Life! Stabs! Of! Happiness! Now! We're! Having Fun! Hold! Tight! Don't Look Down 'Til Dawn! You Glow!" It's absolutely wonderful and her vocal tone suggests pure ecstasy. "Satin Chic" is viewed by many to be one of the best songs on the album, but I can't see it! Hinted to be the album's fourth single, this song is a fusion of pop, rock and cabaret, but I've never clicked with it. "Time Out From This World" is the second of only two really slow and relaxing songs on the album. It's more akin to something you'd have found on "Felt Mountain," and has a beautiful chorus that reminds me of standing on top of a mountain. The album ends with the static "Number 1." This was the second single to be lifted from the album back in late 2005 and peaked at No.9 in the UK charts. The electro-ness of this song is gorgeous and startling with an achingly beautiful verse structure. The point at 1:16 where the melody becomes louder and more obvious is a revelation and will have you humming for life!
OVERALL GRADE: 10/10
Goldfrapp really struck gold with this album winning critical and commercial acclaim from the most varied of sources. I have been playing this album non-stop for nearly eight months now along with the band's previous two albums and I just can't see any reason for not continuing. The band have been criticised by some for being bland and unoriginal, which I just laugh at. Goldfrapp are anything but unoriginal. There's people imitating their sound, yes, and Goldfrapp have been influenced by a lot of music from the 1970s and 1980s, yes, but there's no one else out there doing it better. There's moments of pure pop genius electricity on this album, and that's why I predict Goldfrapp will be around for a long time.
Supernature Poster
There aren't many British female singers who do their own thing with unapologetic flair, eccentric lyrics and outspoken abandon. Women like Moloko's Roisin Murphy, Garbage's Shirley Manson, and Goldfrapp's Alison Goldfrapp, who releases her third album in collaboration with band mate, co-writer and producer, Will Gregory. Supernature follows their Mercury Prize nominated debut release Felt Mountain in 2000 and 2003's Black Cherry. The new album is the sound of Goldfrapp breaking through their own crash barrier - an uncompromising, psychedelic, electro-glam, creative force at the top of their very own game. Supernature is a triumph; a combination of electronics and decadence, soaring, sneering vocals and high drama, which references pretty much every glamorous, dark, witty, twisted bit of pop produced over the last 20 years. Mute. 2005.With their Black Cherry album, the duo of vocalist Alison Goldfrapp and composer Will Gregory moved emphatically away from the folky, filmic forays of their debut Felt Mountain to explore edgier, sexier themes. Supernature, their third long-player, continues to probe this more "adult" world, lashing together lascivious electro, cascading synths and the exhumed spirits of artists like Gary Numan and Giorgio Moroder. Lead single "Ooh La La", with its cosmetic sheen and hedonistic pop feel, is a good indicator for the rest of the album. The aphotic, flirtatious pulse of tracks like "Ride A White Horse" and "Koko" contrast subtly with spectral dream-pieces such as "Let It Take U" and "U Never Know", while Goldfrapp?s vocals--dripping here with a digitized sensuality--and Gregory?s arching soundscapes provide textural continuity. Occasionally vampish and consistently visceral, this is a classy excursion into Goldfrappian gothic dance-pop.
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