Goldfrapp - Black Cherry
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CD Details
Artist: GoldfrappEdition: Music CD
Audio: French (Unknown)
CD Release Date: 2003-05-06
Music Label: Mute U.S.
Soundtracks:
- Crystalline Green
- Train
- Black Cherry
- Tiptoe
- Deep HOney
- Hairy Trees
- Twist
- Strict Machine
- Forever
- Slippage
Music reviews of Black Cherry
Music Review: I'VE WANTED TO WRITE THIS FOR NEARLY A YEAR...
Rating: 5 Stars
As a music writer for an online men's magazine, I was asked to profile Alison Goldfrapp, because the executive editor thought she was "hot." While I thought that was an extremely shallow reason to profile anyone, I set out to digest all things Goldfrapp to write a meaningful feature (under the name Driz Knytel), and thankfully, I fell in love with what I heard.
It seems fans of Goldfrapp's 'Felt Mountain' where under whelmed by this album. Having owned the first Ultra-Chilled album, I didn't even realize Goldfrapp had a song on that compilation until I'd read about it. If that song ("Utopia") is any indication of the rest of 'Felt Mountain,' then I think I prefer the grittier, in-your-face/retro-electro stylings of 'Black Cherry.'
Where do I start? There are a number of recording artists from the past whom I feel are channeled on the ten selections that make up 'Black Cherry.' They are primarily: Donna Summer, Debbie Harry, Madonna ('Ray Of Light' album and beyond), and Prince (when he's in "Darling Nikki" mode). But of course, all these influences do not overpower the unique mystique that is Alison Goldfrapp (and her partner in music Will Gregory). But in my view, these influences certainly enhance the experience.
We start of with the digitally aggressive "Crystalline Green," which sets the mood right off the bat, sonically picking up where NIN's "Closer" seemed to leave off - sans rough language. The word "anticipation" probably best describes the initial portions of the song, followed by a euphoric culmination of discovery, wonder, and (dare I say it), sonic ecstasy. It's a steamy album -- not overtly sensual, but it definitely sets the mood for a carnal experience, whether physical or purely imaginative. Or both. I hear "Love To Love You Baby"-isms (Donna Summer) on this track, along with some "Ray Of Light" era Madonna on "Crystalline Green."
"Train" was a single - and while I wasn't a fan of this song originally, it definitely grew on me. It swaggers with reckless abandon, and does nothing but intensify the intensely passionate ambience "Crystalline Green" initiates the listener to. After the moist sweat-fest that is "Train," we're onto the title track, which is utterly beautiful and mellow -- easily one of my favorites. There's a little woodwind sound effect after each chorus that reminds me of sonic elements from Madonna's work (think: "Oh Father") or something earlier.
The fun begins again with "Tip Toe," a confident-sounding electro-stomper that I imagine might spur a second round of what I'll delicately term "human festivity," should 'Black Cherry' be the album to enhance the aforementioned celebration. The Madonna-ism continues with "Deep Honey," probably the closest thing to the "Felt Mountain" material - plush, gentle, and utterly mysterious.
"Hairy Trees" (why oh why was it named this?) makes a great follow-up in that it is one of the most serene vocal recordings this side of Enya that I've ever heard. The instrumental melody has an aquatic feel that seems to borrow ever-so-gently from a late 70s television show's theme song, called "The Man From Atlantis." At any rate, "Hairy Trees" also reminds me of Madonna - and I can't recommend this song enough. I'm almost convinced that any fan of chill-out music (the mellower form, without the beats) would be inclined to buy this album based on hearing "Hairy Trees" alone. The song is sonically *that* pretty.
Round 3 (hehe) begins with "Twist," a stridently wild ride that has Alison singing more powerfully than she usually does, even letting out a few shrieks at one point that perfectly accentuate the upbeat tone of this jam. But in my view, "Twist" can be viewed as a set-up to the even more compellingly engaging "Strict Machine," which was also released as a single. "Strict Machine" is ridiculously funky, and will remind you of some of Debbie Harry/Blondie's best work -- especially when she sings the line, "wonderful electric." The bass line is perfect on this one.
"Slippage" is an odd instrumental that to me, emotes a feeling of utter exhaustion. It's a cool listen, but the last song on this set (called "Forever") seems to pick up where the title track left off, and its tone recalls the quaint, pure beauty of ballads such as "Soma" or "Luna," by the Smashing Pumpkins. In my humble, pop/R&B loving world, "Forever" is a great ending to a great journey of an album. I've wanted to write this review for a long time, and now I'm happy I finally managed to write it. I hope this was helpful...
A.K.
Description of Black Cherry
2003 album follows their debut Felt Mountain, Black Cherry is a Moroder meets Morricone affair, sexually explicit with a dancefloor electro flavor. 10 tracks. Mute.Goldfrapp's Black Cherry inhabits a dark alley, bristling with urban menace and throbbing with a deep electronic pulse--a far cry from their breezy debut, which gently led the listener to a fairytale aural utopia occupied by Parisian pop, whistling divas and baroque masters. Having given up the countryside for a neon-lit studio, Alison Goldfrapp and Will Gregory have infused Black Cherry with an intensity and brooding claustrophobia that's both exuberant and sensual. Simultaneously mellifluous and mechanical, tracks such as "Train," with its fiery industrial rhythm, steer Goldfrapp dangerously close to the ailing electro-clash scene, before veering back to more familiar territory with the likes of the sultry, downbeat "Black Cherry" and languid dreamy ambience of "Forever." Elsewhere our Hampshire-bred heroine gets deep down and dirty on "Twist," an ode to oral that finds Goldfrapp waxing lyrical to a fierce driving Kraftewerk-esque synth. No Felt Mountain to get lost in, but at least there's "Hairy Trees" to make up for it. --Christopher Barrett
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