Goldfrapp Gets Down With Her Disco Self
Head First takes a huge step back with mixed results
Goldfrapp
Head First
Released on Mar 23, 2010
Alison Goldfrapp is a woman that I can get very excited about, in theory. Synth-y dance grooves paired with actually decent lyrics? Sign me up! However, as is the case with Head First, sometimes Goldfrapp (I’m looking at you too, Will Gregory) can get a bit too referential with their sound. I love me some disco music, and when it first broke that Goldfrapp would be returning to a more disco-influenced sound, I was waiting with bated breath to see what kind of spin this duo would put on that style. Unfortunately, there’s no spin on this disc, save for a few interesting tracks.
Look at this album art. I mean, it’s straight out of the ‘70s. However—and perhaps this is where Goldfrapp gets “creative”—one listen of the opening track “Rocket” will have you hallucinating Olivia Newton-John’s seminal hit “Let’s Get Physical.” Those ridiculous synths! They’re not even trying to put on a spin on this track! If it’s not begging to be played while wearing spandex and doing sexually-charged aerobics, it would be equally at home in a roller rink. A sexually-charged roller rink, of course, because if there’s anything that Goldfrapp does well, it’s sexy music. And while that’s not entirely absent from this album, there’s far more of a throwback feel than a “let’s get down” feel.
The next couple of songs are nothing special. Like that high-falutin’ reviewer talk? Seriously though, until we get to “Alive,” it’s just a bunch of synths in slightly differing variations. Slightly. Now, while “Alive” isn’t lacking in the synth arena, it has an awesome off-key piano intro. By this point in the album, trust me—you’ll be grateful for this gasp of acoustic air. Yeah, we get more electronic as the song goes on, but thanks to its great beat and rampant positivity, it’s hard to hate on this song.
Again, wish I had more to say about more of the songs, but they are just so darn similar. Yes, there are some varying tempos and some different synth sounds, but it really just sounds like Goldfrapp stuck themselves in a disco bubble for this track. And frankly, it sounds so dated that it’s hard to say they’ve done a good job with it. You may be better off just doing some good ol’ fashioned research into ‘70s and ‘80s music and seeking out the originators of this sound.
Oh wait, there is another song to talk about that is the most radical departure ever. “Voicething,” the closing track. It’s good that it’s the last track, because I don’t think it could “fit” anywhere else. It sounds like Alison is just layering her voice on top of itself—the only discernable lyrics are “hold me up,” and the rest of the layering consists of “oohs” and other hums. IT IS AWESOME. If it wasn’t such a good track, I would be up in musical arms about how out-of-place it is on this disco extravaganza, but I’m too busy listening to it over and over again to care.
High Point
No question or contest here: “Voicething.” OK, if I have to choose a disco high point, the intro and overall feel of “Alive.”
Low Point
I tend to enjoy albums that reference another style of music—especially a style that seems like it would fit with the artist. But it stops being enjoyable if the album just downright copies the style.
Posted by Alyssa Vincent on Mar 23, 2010 @ 6:00 am