Tag: Goldfrapp (Page 9 of 9)

2010 END OF YEAR REVIEW

28 December 2010 /

The Year Of Transistors

“Synthesizers can be explored and explored, and the music that can be made with electronic instruments is infinite in its breadth. KRAFTWERK may have said ‘we are the robots’, but anyone need only listen to Trans-Europe Express and compare it to most of the turgid, boring guitar-based rock that has been produced over the last 30 years to realise that electronic music can be deeply emotional. And anyone who says electronic music is not real music is just too simple-minded for our patience I’m afraid!”: MIRRORS

2010 saw the return of the male synthpop act, smart boys with their toys and their nods towards the classic era of Synth Britannia. Leading the way were VILLA NAH and MIRRORS who both fused quality songs with vintage sounds and crisp contemporary percussive frameworks. The two units were obviously pressing the right buttons as both opened as special guests to OMD. As a continued sign of their undoubted potential, both were also were invited to support THE HUMAN LEAGUE; an opportunity which unfortunately neither act was able to fulfil due to prior scheduling commitments.

Coming from Finland, VILLA NAH released one of the best long players of the year in ‘Origin’, while closer to home, Brighton-based MIRRORS’ forthcoming album ‘Lights And Offerings’ is likely to be one of the musical highlights of 2011. Meanwhile HURTS, the enigmatic Mancunian duo who many predicted for major success in 2010, rattled the cages of the style over substance brigade.

Whilst the cinematic grandeur displayed in their best songs like ‘Wonderful Life’, ‘Stay’ and ‘Sunday’ was simply outstanding, they did occasionally walk a fine line with their milder paced material, sounding occasionally like TAKE THAT backed by ULTRAVOX. Despite confusing some listeners, their album ‘Happiness’ was an enormous grower and their live shows won over many new fans, especially on the continent where artful intelligence is a highly regarded attribute.

Interestingly, TAKE THAT themselves released their album ‘Progress’ with Stuart Price aka LES RYTHMES DIGITALES at the producer’s helm. Featuring a strong electronic flavour, there was also a song called ‘Eight Letters’ based on ‘Vienna’ which resulted in the rather unusual credit ‘written by Barlow / Donald / Orange / Owen / Williams / Ure / Cross / Cann / Currie’!

Attracting cult followings in 2010 were DELPHIC and CHEW LIPS. DELPHIC captured the Factory Records aesthetic of the mutant disco pioneered by NEW ORDER and A CERTAIN RATIO, but were unable to attract mainstream recognition probably due to their reliance on grooves and jams rather than actual songs… they can only get better with time.

CHEW LIPS are YEAH YEAH YEAHS with synths and while they had several brilliant numbers in their cannon, not all were included on their rather short debut album ‘Unicorn’. This didn’t allow them to play to their strengths on record although this was fully exploited in their live show. Again, they will learn.

And not wishing to get wholly involved in the main skirmish, THE SOUND OF ARROWS maintained a low profile while recording their debut album in London but delivered some impressive concert showcases of their lush Nordic musicality. Their optimistic and aspirational ‘Disney meets Brokeback Mountain’ tone may be the fresh approach to electropop in 2011.

Kookiness was the order of the day with the raven haired beauties MARINA & THE DIAMONDS and EMILIE SIMON. Marina Lambrini Diamandis kept the spirit of SPARKS alive with some fe-Mael intuition on her superb debut ‘The Family Jewels’ while EMILIE SIMON crossed the channel for some ‘one girl and her synth’ shows to fill the gap left by the absence of LITTLE BOOTS in 2010.

As could have been expected after the promotional lash of last year, Victoria Hesketh took a break before starting work on her new album. Hertfordshire’s SUNDAY GIRL could be the next lady-in-waiting providing she can expand on the very promising material like All The Songs and Stop Hey! that was premiered in the latter part of the year.

Meanwhile LA ROUX toured the world and recorded a ‘Stones cover ‘Under Your Thumb’ for the ‘Sidetracked’ influences DJ mix compilation before giving old mate SKREAM the iTunes bonus track Saviour for a dubstep rework as Finally and guesting with CHROMEO. However, Elly Jackson appears to have forgotten that No.1 rule of not biting the hand that feeds you by exclaiming “… I don’t want to make synth music for the rest of my f*cking life!” and declaring the electropop genre “over”!

In the battle of Synth Britannia, OMD released their first collection of new material for 14 years while THE HUMAN LEAGUE delayed their full album return until 2011. THE HUMAN LEAGUE have the backing of electronic music guru Mark Jones’ Wall Of Sound label and thus far have played a ‘less is more’ approach. Despite not having an official website until this year, some clever viral marketing sent interest in their single ‘Night People’ sky high and provided good business for their now almost traditional Christmas UK tour.

While OMD’s ‘History of Modern’ album had several outstanding tracks worthy of comparison with past glories, it was confusingly launched with an Aretha Franklin mash-up that wasn’t on the final tracklisting and a nauseating Britpop pastiche as lead single. Ironically one of the statements made in its sleeve notes was “Modern is not… Oasis”!

It was as if audiences who had traditionally been sceptical of the whole synthesizer axis were now being targeted.

However, electronic pop’s spiritual homeland of Germany welcomed OMD back like one of their own and respectable business for ‘History of Modern’ was generated.

A-HA though are proof that consistently high quality new material is still a possiblity 25 years after your commercial heyday with the focus of their final album ‘Foot Of The Mountain’ very much on their synthesizer roots. In late 2010, they bid farewell with a final tour and a superb double CD compilation called ’25’ which featured not only their hits but the best of their much under valued album tracks.

Photo by Tracey Welch

Among the acts celebrating their legacies, HEAVEN 17 enhanced their reputation no-end by participating in a brilliant BBC6 Music collaboration with “the falsetto from the ghetto” LA ROUX. And if that wasn’t enough, they had not one but two BBC TV programmes featuring their highly regarded album ‘Penthouse & Pavement’ including their triumphant Sheffield Magna gig.

HOWARD JONES didn’t look a day older, proving that a vegetarian diet and a clean living spirituality was the key to eternal youth! He played ‘Human’s Lib’ and ‘Dream Into Action’ in full for the first time at Indigo2.

Former sparring partners ULTRAVOX and JOHN FOXX played very different types of live shows in 2010. ULTRAVOX almost went back to basics with the retrospective ‘Return To Eden 2’ tour while JOHN FOXX curated an audio/visual extravaganza at the Short Circuit Festival featuring a deluge of analogue synths and some new material to a mixed reception.

DEPECHE MODE completed their ‘Tour Of The Universe’ and capped it all with a special show at the Royal Albert Hall for The Teenage Cancer Trust where Alan Wilder was reunited with the band for the first time in 16 years during the encore of ‘Somebody’. It was an emotional night for many including the band. Does this lay out the foundations for, if not a reunion, at least some future work together?

GOLDFRAPP returned with ‘Head First’, a mid-Atlantic AOR styled electronic romp that had echoes of Laura Branigan and Olivia Newton-John. Some found it uninspiring but what could not be denied was the catchiness of the tunes. Given time, it will become a future guilty pleasure.

Meanwhile LADYTRON prepared a career spanning compilation Ladytron ’00-10′ to reinforce their reputation as one of the key electronic based acts of the last decade but they began the year contributing a pair of excellent bonus tracks to Christina Aguilera’s album ‘Bionic’ in ‘Birds Of Prey’ and ‘Little Dreamer’.

Swedish songstress Robyn continued her feisty independent spirit by releasing her ‘Body Talk’ trilogy and the excellent single ‘Dancing On My Own’, while both Lady Gaga and Kylie kept electronically produced pop in the mainstream consciousness.

Across the water, New York’s THE GOLDEN FILTER added a crisp vibe to the electronic dancefloor via some dreamy Scandinavian influences and frantic tribal percussion while their neighbours THE HUNDRED IN THE HANDS brought a mechanised twist to new wave on their self-titled debut. And for the perfect after party soundtrack in the Big Apple, ARP provided some gorgeous modern day ambience with the album ‘The Soft Wave’. Meanwhile, another North American based duo LOLA DUTRONIC relaunched their brand of dreamy Gallic flavoured electro-lounge pop with the ‘Musique’ EP.

Elsewhere internationally, the vivacious SHH became the latest in a line of Argentine musicians basing themselves in London for an assault on the UK and European market while Texans HYPERBUBBLE brought their own ‘bionic bubblepunk’ with the impressive ‘Candy Apple Daydreams’. MARSHEAUX had a quiet year, only releasing a cover of BILLY IDOL’s Eyes Without a Face for an Amnesty International compilation.

Promising newcomers VILE ELECTRODES steadily gained fans on the London club circuit with their mix of fetish porn and analogue synths while following some line-up changes, THE VANITY CLAUSE finally released their first album ‘Fractured’. And the quirky Sheffield based duo THE CHANTEUSE & THE CLAW unleashed a superb debut single in ‘Are You One?’.

Overall in 2010, the spark generated by the new generation of synthesizer acts and the willingness of others to incorporate more electronic sounds into their work accounted for yet another productive year with the heritage acts also getting the cultural recognition they fully deserved. Ever supportive, The Guardian even featured a piece on the older incarnation entitled Forgive Us Our Synths which interestingly was almost two years after their prophetic Slaves To Synth article hit the public consciousness.

There were more quality albums and live shows of interest to the electro fan than in many years past with acts such as MIRRORS, VILLA NAH and HURTS fulfilling the role of worthy successors to the classic Synth Britanniageneration. Hopefully, other acts will be following in their footsteps. In fact, despite being ignored by the BBC Sound Of 2011 and New To Q listings which appear to have been locked into some evil parallel universe where good taste does not seem to reside, “… fey, gay, pseudo-intellectual synth b*llocks” still rules!

ELECTRICITYCLUB.CO.UK Contributor Listings Of 2010

STEVE GRAY

Best Album: TENEK On The Wire
Best Song: HURTS Unspoken
Best Gig: DEPECHE MODE at London Royal Albert Hall
Best Video: MIRRORS Ways To An End
Most Promising New Act: MIRRORS

CHI MING LAI

Best Album: VILLA NAH Origin
Best Song: MIRRORS Ways To An End
Best Gig: HEAVEN 17 at Sheffield Magna
Best Video: HURTS Wonderful Life
Most Promising New Act: THE SOUND OF ARROWS

RICHARD PRICE

Best Album: HURTS Happiness
Best Song: OMD History Of Modern (Part I)
Best Gig: THE HUMAN LEAGUE + HEAVEN 17 at Galway Festival
Best Video: HURTS Stay
Most Promising New Act: MIRRORS

JOHAN WEJEDAL

Best Album: PAGE Nu
Best Song: POLAROID MILITIA Astana My Hero
Best Gig: PAGE at Gothenburg Synthklubben
Best Video: VILE ELECTRODES Deep Red
Most Promising New Act: THE GIRL & THE ROBOT

Text by Chi Ming Lai
28th December 2010

GOLDFRAPP Live In London

10 November 2010 /

On a cold Autumn evening in a packed Hammersmith Apollo, something unusual was happening; Alison Goldfrapp was having fun!

The fairy godmother of modern electro has always cut a striking if static on-stage persona but tonight, it was if the thigh booted ice queen of yore had melted. Like LADYTRON’s Mira Aroyo on their ‘Velocifero’ tour, Ms Goldfrapp totally loosened up, just as ERASURE’s Andy Bell once suggested she should.

So after a start which included darker, more artful selections like ‘Voicething’, ‘Crystalline Green’ and ‘You Never Know’, there was a breakout of smiles, dancing and even acknowledgements of the audience. While she has not turned into Kylie Minogue, tonight saw a more relaxed and confident Alison Goldfrapp, someone who was now comfortable in their own aura.

There could be a variety of factors contributing to this but one almost certainly is the uptempo material from the ‘Head First’ album that dominates the middle part of this show. Tailor made for the sheer dynamics of live performance. A song like ‘Dreaming’ may be gorgeously layered Eurodisco, but the bouncy FM synth rock numbers ‘Alive’, ‘Believer’ and ‘I Wanna Life’ make the audience punch the air and join in the choruses. ‘Rocket’ is another case in point, a wonderful slice of Trans-Atlantic pop with Italo refrains a la Laura Branigan. The gorgeous middle eight is just angelic while the near lyrical banality of the chorus is utter genius.

Honorary Frappers Charlie Jones, Angie Pollock, Davide Rossi and new drummer Daisy Palmer all contribute a strong visual presence, with Pollock and Rossi taking to keytars in mock-Van Halen parody during this lively section of the show. Rossi is a total musical all-rounder, swapping between violin, synths and guitar while Pollock backs up on keyboards and backing vox, looking every bit the glam vamp. Marching around the stage in neo-militaristic fashion, Ms Goldfrapp’s crazy curly locks billow in the artificial wind like some live action remake of the cult cartoon ‘Crystal Tipps & Alistair’ and her black tinsel-covered outfit does the same.

The glam era is very much at the root of the GOLDFRAPP aesthetic and even on the mid-paced material, this influence is prevalent. The fantastic ‘Number 1’ is a ROXY MUSIC number transported into the 21st Century, while the wonderful ABBA inspired singalong of ‘Head First’ would do Agnetha, Bjorn, Benny and Annifrid proud.

Throughout the set, the rhythm section remains rock solid. Jones, son of LED ZEPPELIN’s John-Paul cooly textures and jazzes up proceedings as appropriate on his bass while despite having a full acoustic kit at her disposal, Palmer sticks mostly to a punchy electronic percussion pad but comes to the fore when the power is needed.

An extended electronic work out of ‘Ride A White Horse’ meets the crowd’s approval while ‘Ooh La La’ and ‘Strict Machine’ are effectively turned full-blown T-REX tributes with as usual, the latter’s ‘We Are Glitter’ intro threatening to turn into THE RAH BAND’s ‘The Crunch’! And not forgetting ‘Train’, this doesn’t disappoint either as a filthy slice of Teutonic schaffel! Indeed, the sheer volume is a pleasant surprise tonight. It even paradoxically helps the quieter numbers in the encore like ‘Black Cherry’ and the superb ‘Lovely Head’ with Ms Goldfrapp’s spine tingling electronically assisted banshee wails.

GOLDFRAPP gigs have often been too quiet in the past, thereby encouraging talking in the audience and provoking the culturally challenged who simply cannot get their heads around the more esoteric GOLDFRAPP material. This evening, the loudness sees them all thankfully silenced, even when she tackles these songs dressed like a Meringue!

Tonight, people saw the real Alison Goldfrapp, the girl with the Olivia Newton-John fixation. If she had only performed the early B-side ‘UK Girls’ featuring its chorus lifted from ‘Physical’, then the circle would have been completed and everything would have been perfect. Other than that, it was GOLDFRAPP’s best ever live set. Despite all the flirtations with folk and film-noir, Ms Goldfrapp is actually a purveyor of some guilty pleasures.

‘Head First’ is released by Mute Records/EMI music

http://www.goldfrapp.com

https://www.facebook.com/Goldfrapp

Text by Chi Ming Lai
Photos by Richard Price
16th November 2010

GOLDFRAPP Head First

21 March 2010 /

Alison’s Opalescent Retro

GOLDFRAPP have always shed skins with every album. Alison Goldfrapp and Will Gregory are almost like a modern day EURYTHMICS, changing styles as they please and making the audience work for their enjoyment whether they approve of the new direction or not!

From their moody cinematic debut ‘Felt Mountain’ to the futurist electro-glam of ‘Black Cherry’ and the X-Certificate Kylie of their biggest commercial success ‘Supernature’, even fans were a little shocked when folktronica album ‘Seventh Tree’ hit the shelves.
Coming over like Sandy Denny crossed with Britt Ekland in ‘The Wicker Man’, the album was an unexpected success despite the drastic change in direction.

But for ‘Head First’, there’s yet another path. Alison Goldfrapp recently came out in her relationship with ‘Nowhere Boy’ film editor Lisa Gunning and this appears to have provided her an emotional release, a metaphoric weight off her shoulders. ERASURE’s Andy Bell once remarked that Ms Goldfrapp was “a sweetheart but really needs to loosen up” and it would appear that this joyous union has resulted in the most up GOLDFRAPP album ever.

In common with Annie and Dave’s appropriately titled ‘Be Yourself Tonight’ LP which exposed more Stateside influences, ‘Head First’ shows hints of MTV styled AOR with Irena Cara-era Giorgio Moroder, Laura Branigan and Olivia Newton-John being the most instant references. That Da Neutron-Bomb is an influence however should not be a complete surprise as GOLDFRAPP interpolated her classic hit ‘Physical’ into their own B-side ‘UK Girls’ as far back as ‘Felt Mountain’ in 2000.

Alison obviously has a taste for guilty pleasures and probably in a desire to show Gaga, Boots and Roux a thing or two, she’s let rip with the synths again to reclaim her disco queen crown. But add in some power chords while trying not to say VAN HALEN and for the first time, GOLDFRAPP are actually sounding retro! More Oberheim than Korg, ‘Head First’ has precious little agenda with yesterday’s tomorrow.

First single ‘Rocket’ has the synthetic brassy stabs of ‘Gloria’ and the wonderfully banal lyrics like “Woah-oh-ohh! I’ve got a rocket! Woah-oh-ohh! You’re going on it!” recall the Italo disco genre which was such a big influence on the Laura Branigan sound. The middle eight is gorgeous and you can read what you want into any sexual innuendo! Several other tracks like ‘Believer’ and ‘I Wanna Life’ are enjoyable FM pop but typical of the Americanised anthemic sound attempted on ‘Rocket’. In a strange way, GOLDFRAPP are going back to their cinematic roots. Only the soundtrack is for the montage dance scene of a Brat Pack movie or ‘Flashdance’ rather than a Cold War spy drama!

‘Alive’ recalls ELO’s ‘I’m Alive’ from Da Neutron-Bomb’s ‘Xanadu’, a film so awful it was rechristened ‘Xanadon’t’! But this does sound like it could be a new song for the extended directors cut. The synth solo is big and fat; it’s GOLDFRAPP, just not as we know them! The stand-out track is ‘Dreaming’ which walks tall because it’s the most European of the set. There’s a beautiful high-register chorus alongside the chunky arpeggios, swimmy ARPs and real strings. It’s a slice of quality Eurodisco with an updated take on French electronic acts such as CERRONE and SPACE (not the talentless Scouse chancers!)

The title track is pure ABBA! Even the “I am your visitor” lyric points to their final album being one of Alison and Will’s muses. Will Gregory pays tribute to Benny Anderson with some classic keyboard runs while the belting multi-layered harmonies are Alison doing her best Agnetha and Annifrid. Alison loosens up further on ‘Shiny and Warm’, whispering along to fat bass pulses and a stuttering Lindyhop that makes this a more electronic cousin to ‘Satin Chic’ from ‘Supernature’.

A GOLDFRAPP album wouldn’t be a GOLDFRAPP album without the usual plethora of slower moods. There’s the staccato ‘Hunt’ which is like their own ‘Deep Honey’ driven by a live drum beat and the neo-accapella ‘Voicething’ which is dominated by Alison’s abstract vocal stylings on top of a minimal electronic backing track. It’s doesn’t quite scale Matterhorn heights in the way ‘Felt Mountain’ did but it’s a lovely closer.

Short and sharp, ‘Head First’ doesn’t outstay its welcome and works as an album. GOLDFRAPP have been the epitome of cool in the 21st Century but are they in now danger of thawing? ‘Head First’ is a very immediate, fun recording but whether it will become a classic, only time will tell.

‘Head First’ is released by Mute/EMI Records

http://goldfrapp.com/

https://www.facebook.com/Goldfrapp

Text by Chi Ming Lai
21st March 2010

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