Goldfrapp

Alison Goldfrapp (a former fine art student who has worked with Tricky, Peter Gabriel and Orbital) is a gothic, decadent, chanteuse that sings cryptic lyrics in the chilling tone of an agonizing lover over Will Gregory's subtle, gentle, noir arrangements of electronic and acoustic instruments. There is something stately about her dejected crooning in the singles Lovely Head (Mute, 2000), superbly contrasting nostalgic whistling, stately strings, expressionistic synths and a chirping harpsichord (basically deconstructing the easy-listening muzak of the Sixties), and Utopia (Mute, 2000), a dreamy prayer in a stronger exotic-tinged vortex of instruments (even reminiscent of the Cocteau Twins), as if she was fighting the forces of human destiny, not just describing her private sorrow. The similarities with the greatest metaphysical chanteuse of all time, Nico, end here though, as the balladeer's vocal range is surprisingly broad (and mostly sounds like Fiona Apple and Liza Minnelli, with occasional nods to Marlene Dietrich and Siouxsie Sioux), while Gregory's scores are inspired by Angelo Badalamenti, Barry Adamson, horror-film soundtracks, classical music, electronica, Squarepusher's drum'n'bass and Portishead's trip-hop. The album Felt Mountain (Mute, 2000) is simultaneously less creepy and more elegant, sexier and slower. Strings and horns are employed in an ever more subliminal fashion. She whispers with velvet voice Paper Bag and Pilots and seems to fall asleep inside the melisma of Deer Stop. But for true magic one has to check the surreal county-fair atmospheres of the instrumental Oompa Radar and Horse Tears, that manages to bridge renaissance song, childish nursery rhyme and Bessie Smith's blues. Her yodeling vowels toy with a disjointed industrial soundscape Felt Mountain.

Very little can be salvaged from Black Cherry (Mute, 2003). Its lushly-arranged erotic-futuristic synth-pop rarely attains any credibility (Crystalline Green, Black Cherry, Hairy Trees). Goldfrapp's producer Will Gregory seems to be running out of ideas rapidly. Train and Strict Machine were the singles.

Supernature (Mute, 2005) is not as awful as its predecessor but it is even more derivative of synth-pop and disco-music of the early 1980s. Perhaps Gregory decided to copy the classics instead of taking a risk with new ideas. Ooh La La, Ride a White Horse, Lovely 2C U, Fly Me Away pay off.

Seventh Tree (2008) sounds like an unfinished album. The songs are mere attempts at crafting a song, the arrangements are inadequate, the rhythms are lazy (no bouncy beats this time) as if the musicians were not motivated to play. Caravan Girl is the melodic standout, Little Bird offers the most rewarding sonic experience.

Head First (Mute, 2010) returned to the original concept: a diligent revival of the synth-pop and disco-music of the early 1980s.

The Singles (2011) is the only album that is truly worth having.