Appearances can be misleading, and the impression left
by Goldfrapp’s marvellously chilled first album
certainly was. With its soft melodies, Morricone-esque
orchestrations and quirky melodies, Felt
Mountain established Alison Goldfrapp and Will
Gregory as one of the most interesting bands around.
But if you thought they were capable of little more
than producing sumptuous coffee table music for glorified
lounges, think again. Black Cherry might still
have a lot of common with its predecessor, but it is
as urban, seedy and upfront as Felt
Mountain was delicate and shy. Never one to
compromise for her benefit, Alison has been known to
play anything from Prince to Motorhead during her infamous
DJ sets, and the band’s live performances have
increasingly become more unsettling as they drastically
reworked their songs. Those who were lucky enough to
catch them live during their last tour already knew
that the romantism of Human, Paper Bag
or Lovely Head was just a front.
When asked about her influences, Alison Goldfrapp would
mention Morricone and disco in the same sentence. 'I
love disco, Donna Summer, McArthur Park, all that stuff.'
And there were some elements of this in Felt
Mountain, although buried deep underneath a
thick coat of strings and waves. Whereas Felt
Mountain was the fruit of weeks spent recording
in the countryside, Black Cherry was recorded
in a studio in the heart of Bath, with darkened walls
lit by neon light. Equally, if Felt
Mountain was well thought out before recording
started, Black Cherry slowly grew out of jam
sessions. A total departure this album is not however.
Quite far from it in fact. Goldfrapp only bring the
dirt right to the surface. Tiptoe is a perfect
illustration of this. By all means a potential single,
the song kicks off with a sleazy electronic groove over
which an at first almost unrecognisable Alison drools
lazily, before it suddenly turn into something close
to Human, consequently alternating between
both ambiences. The striking first single, Train,
shows Goldfrapp in seedy cabaret mood, combining seventies
glam rock energy and eighties electro. One of the standout
tracks here, Train doesn’t break the
fan’s expectations gently, but its infectious
groove and catchy tune compensate greatly. The influence
of Giorgio Moroder is never more obvious than on Strict
Machine, which sees Goldfrapp’s industrial
answer to Donna Summer’s I Feel Love
stepping up the pace dramatically. The opening Crystalilline
Green is somewhat darker, yet its sets the mood
and tone for the rest of the album. Piling up allusions
to coke (Nasal douche / Poolside line – Train,
Your wild lies always start / With wide white lines
– Deep Honey) and sexual fantasies (Twist,
the most obvious choice for a single if it wasn’t
for its rather rude lyrics), Goldfrapp definitely ditch
their squeaky-clean image. When they retire to more
restrained territories, on the beautiful title track
or the ethereal Hairy Trees, the Goldfrapp
of old return for a moment, establishing precisely the
link with Felt
Mountain that has been overlooked by many a
reviewer.
Passed the goddamn awful cover, the real identity of
Black Cherry is found on the stunning inside
photo of an over made-up Alison Goldfrapp, evoking cheap
and dirty cabaret and rock chick. Black Cherry
is as decadent and sparkly as its predecessor seemed
serous. This is the sound of a band maturing fast and
well. With this second album, Goldfrapp definitely distance
themselves from the chill out generation and affirm
that they’re only at ease in their own sophisticated
world.
5/5 |
