After the 2000, release of Goldfrapp's breath-taking chill out debut 'Felt Mountain, ' I have been eagerly awaiting their follow up record. The duo, Alison Goldfrapp and Will Gregory, have released their sophomore album 'Black Cherry' which is a great departure of the ethereal triphop of 'Felt Mountain' and leads into a pop techno electronca with heavy synths and drums.
Initially shocked as all hell as if the band had lost their identity to Debby Harry of Blondie.
I found myself checking the band name on the CD over and over to sort out my confusion, but it was actually was the UK duo. 'Felt Mountain” was a hard record to follow, so after winding down from the shock of 'Black Cherry' my review begins.
The single 'Train' starts off as if The Chemical Brothers hired Debby Harry to dominate the electro-pop dance floors as distorted keyboards sound their sirens on the digital letdown. Alison's once fragile heavenly voice is under the influence of illegal substances of pop methamphetamines.
'Black Cherry,' 'Deep Honey,' 'Forever,' and 'Hairy Trees' drop the distorted synthesizers for a gentle lush triphop adventures with glassy keys and strings reminiscent of 'Felt Mountain.'
'Tiptoe' introduces Gregory into the vocals paired with Alison in a Depeche Mode-esque song with a beautiful lush strings break with Alison's more dream-like vocals, then back to Depeche and ringing sirens, combining the two distinctly different album sounds.
'Twist' gets Alison a little heated up as she exclaims' Put your dirty angel face between my legs and knicker lace.” The funky 'Strict Machine' sounds like 'Personal Jesus' by Depeche Mode sung by Blondie with its western swing and 80's syths sounds.
Goldfrapp's 'Felt Mountain, 'is a must have CD your collection, but 'Black Cherry' went experimenting in areas that would have been best left uncovered, if the disc came with a time machine set for Ninteen Eighty it would sound great back in the daze.
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