Felt Mountain *****
Artist: Goldfrapp
Rating: 5 stars
Released: 11th September 2000
It's coming up to 12 years since the release of Alison Goldfrapp and Will Gregory's debut album, and since then, they've undergone several notable changes of style. Therefore you might expect this album to sound a little, raw, perhaps, but it's nothing of the sort, much more a stylistically complex and beautifully crafted piece of work, and one which still sounds as fresh and bold now as when it was first released.
The first song on the album, and probably the most recognizable, is Lovely Head. It's a lovely song, if you'll pardon the pun, and one which combines Goldfrapp's gentle vocals with a harsh, in-your-face synth, which can be unexpected at times but works perfectly. Paper Bag is a much quieter song, Goldfrapp once again restraining the true power of her voice into an almost 'gentle hush,' creating a song which wouldn't sound out of place on Kate Bush's recent 50 Words for Snow. Human, on the other hand, is a much more upbeat song, completely different to the previous two, Goldfrapp now taking on an almost Shirley-Bassey-like quality. Human has an almost terrifyingly salsa-like feel to it, and whilst it may not necessarily be to everyone's tastes, this reviewer found it to be one of his favourites of the disc. Pilots (On a star) contrasts unusual 90s computer sound effects with flourishes of brass, and is an ephemeral piece of work, similarly to Deer Stop, where Goldfrapp lets out subtle hints of the true rawness of her voice. Neither can compare to the serene tranquility of Felt Mountain, however. It's the ultimate chill-out song and one in which you can get completely lost. It's one of Goldfrapp's best songs of all time, so good they named the album after it, and just about the best song on the disc. Oompah Radar is an unusual song, managing to be simultaneously terrifying and brilliant, stopping and starting randomly, changing style from big band to relaxing lounge music, which creates an uncomfortable yet tantalizing effect on the listener. Utopia once again takes a more ephemeral sound, creating a beautiful song which is as futuristic as it is familiar, but never feels quite "full" enough for my liking. Horse Tears, the final song on the album, is, unfortunately, probably its weakest, but compared to the 8 that came before it, it's in no way a bad song, just not as wonderful as the others. That said, I'd listen to Horse Tears over a Rihanna song any day.
- Greg Walker
Rating: 5 stars
Released: 11th September 2000
It's coming up to 12 years since the release of Alison Goldfrapp and Will Gregory's debut album, and since then, they've undergone several notable changes of style. Therefore you might expect this album to sound a little, raw, perhaps, but it's nothing of the sort, much more a stylistically complex and beautifully crafted piece of work, and one which still sounds as fresh and bold now as when it was first released.
The first song on the album, and probably the most recognizable, is Lovely Head. It's a lovely song, if you'll pardon the pun, and one which combines Goldfrapp's gentle vocals with a harsh, in-your-face synth, which can be unexpected at times but works perfectly. Paper Bag is a much quieter song, Goldfrapp once again restraining the true power of her voice into an almost 'gentle hush,' creating a song which wouldn't sound out of place on Kate Bush's recent 50 Words for Snow. Human, on the other hand, is a much more upbeat song, completely different to the previous two, Goldfrapp now taking on an almost Shirley-Bassey-like quality. Human has an almost terrifyingly salsa-like feel to it, and whilst it may not necessarily be to everyone's tastes, this reviewer found it to be one of his favourites of the disc. Pilots (On a star) contrasts unusual 90s computer sound effects with flourishes of brass, and is an ephemeral piece of work, similarly to Deer Stop, where Goldfrapp lets out subtle hints of the true rawness of her voice. Neither can compare to the serene tranquility of Felt Mountain, however. It's the ultimate chill-out song and one in which you can get completely lost. It's one of Goldfrapp's best songs of all time, so good they named the album after it, and just about the best song on the disc. Oompah Radar is an unusual song, managing to be simultaneously terrifying and brilliant, stopping and starting randomly, changing style from big band to relaxing lounge music, which creates an uncomfortable yet tantalizing effect on the listener. Utopia once again takes a more ephemeral sound, creating a beautiful song which is as futuristic as it is familiar, but never feels quite "full" enough for my liking. Horse Tears, the final song on the album, is, unfortunately, probably its weakest, but compared to the 8 that came before it, it's in no way a bad song, just not as wonderful as the others. That said, I'd listen to Horse Tears over a Rihanna song any day.
- Greg Walker
The Temper Trap ***
Artist: The Temper Trap
Rating: 3 stars
Released: 21st May 2012
Hmm. When I first listened to Conditions, The Temper Trap's debut album, I was blown away. Totally and completely. I shared it with friends, tried desperately to go to see them live, and, of course, eagerly awaited their second album. When the second album, the eponymous The Temper Trap, arrived in the post, I was extremely excited. After the first listening, however, I was incredibly disappointed. I even checked to see I had the right CD. I did, of course. Thinking back to their previous album, I knew I had to give this one a second chance. So I did. And a third. And a fourth. And the more I listened to it, the more it grew on me. Although not as good as Conditions, The Temper Trap presents us once more with songs that are as memorable and beautiful as Sweet Disposition, even if it does take a few listens before you realize. Need Your Love, Trembling Hands and Where Do We Go from Here? are the three stand out songs of the album, but I suspect this will be one whereby every song will be someone's favourite - except for the rather cringe-worthy London's Burning, that is. All in all, a good album which while perhaps not as instantly amazing as Conditions, stands up well on its own.
- Greg Walker
Rating: 3 stars
Released: 21st May 2012
Hmm. When I first listened to Conditions, The Temper Trap's debut album, I was blown away. Totally and completely. I shared it with friends, tried desperately to go to see them live, and, of course, eagerly awaited their second album. When the second album, the eponymous The Temper Trap, arrived in the post, I was extremely excited. After the first listening, however, I was incredibly disappointed. I even checked to see I had the right CD. I did, of course. Thinking back to their previous album, I knew I had to give this one a second chance. So I did. And a third. And a fourth. And the more I listened to it, the more it grew on me. Although not as good as Conditions, The Temper Trap presents us once more with songs that are as memorable and beautiful as Sweet Disposition, even if it does take a few listens before you realize. Need Your Love, Trembling Hands and Where Do We Go from Here? are the three stand out songs of the album, but I suspect this will be one whereby every song will be someone's favourite - except for the rather cringe-worthy London's Burning, that is. All in all, a good album which while perhaps not as instantly amazing as Conditions, stands up well on its own.
- Greg Walker