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MELANCHOLY SKY
8 Jan 2012
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THE SINGLES
6 Feb 2012 |
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|
| Date |
Aug 19 |
| Type |
Review |
| Source |
The Independent |
| Title |
Supernature |
| Country |
UK |
| Journalist/Photographer |
Andy Gill |
| Text |
Few of the acts thrown up by the electroclash scene of a few years back have prospered as well as Goldfrapp, who parlayed the dreamy widescreen glamour of their Felt Mountain debut into the pulsing erotic techno-pop of Black Cherry. Having arrived at their signature style, however, there's little indication of further development on Supernature, which basically just re-treads the same themes and influences. The abbreviations of titles such as "Lovely 2 C U" and "Let It Take U" recall that previous imp of the erotic, Prince, and there are hints elsewhere of Kate Bush's phrasing and, in "Ride a White Horse", the glacial sophisto-mystery of Marlene Dietrich. There's even another re-casting of the classic "Spirit in the Sky" riff (following Black Cherry's "Strict Machine") in the opening single "Ooh La La", a sensual synthesiser boogie in which Alison Goldfrapp invites us to "Switch me on/Turn me up". But save for occasional moments such as the You Only Live Twice-style strings that lend an 007 hedonist thrill to "Time out from the World", and the perky tack-piano that adds a touch of risqué music-hall charm to "Satin Chic", the dominant tone here is of the vintage retro-futurist synth-pop of the Seventies and Eighties, from Giorgio Moroder to Gary Numan. Robo-sexual heaven, if that's your thing, but a touch monotonous.
Few of the acts thrown up by the electroclash scene of a few years back have prospered as well as Goldfrapp, who parlayed the dreamy widescreen glamour of their Felt Mountain debut into the pulsing erotic techno-pop of Black Cherry. Having arrived at their signature style, however, there's little indication of further development on Supernature, which basically just re-treads the same themes and influences. The abbreviations of titles such as "Lovely 2 C U" and "Let It Take U" recall that previous imp of the erotic, Prince, and there are hints elsewhere of Kate Bush's phrasing and, in "Ride a White Horse", the glacial sophisto-mystery of Marlene Dietrich. There's even another re-casting of the classic "Spirit in the Sky" riff (following Black Cherry's "Strict Machine") in the opening single "Ooh La La", a sensual synthesiser boogie in which Alison Goldfrapp invites us to "Switch me on/Turn me up". But save for occasional moments such as the You Only Live Twice-style strings that lend an 007 hedonist thrill to "Time out from the World", and the perky tack-piano that adds a touch of risqué music-hall charm to "Satin Chic", the dominant tone here is of the vintage retro-futurist synth-pop of the Seventies and Eighties, from Giorgio Moroder to Gary Numan. Robo-sexual heaven, if that's your thing, but a touch monotonous. |
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