Goldfrapp
Black Cherry

Generally, when I order a pizza, I rarely choose the calzone. It's a stupid pizza that doesn't fit well with my being a foodie (I usually save the best bite for last, to keep the good taste in my mouth). You have to start from one of the two "tips" where it's just the unseasoned pizza dough. Then, when you reach the center, the ingredients overflow, and you savor them all mixed together poorly. By the time you get to the end, you have the crust again, leaving your mouth dry and erasing the memory of the pizza you just ate. Then you peek at the neighbor's plate and realize you would have preferred a normal pizza with eggplants...

This album is exactly like that, like a calzone. It starts terribly, and you curse the day you bought it, and when you finish it, you would have preferred to listen to anything else.

The same "calzone" effect is found in the songs: they start with samples that seem placed there at random; then, once all the sounds are introduced, the song becomes extremely harmonious, and you enjoy the track, which almost always ends in a banal and predictable way.

Alison Goldfrapp sings like Sarah Cracknell from Saint Etienne, and Will Gregory (who takes care of the music) obviously listened to a variety of things in the past, invoking some sounds of the Kraftwerk, on regular rhythmic bases enriched by sounds reminiscent of French pop like Daft Punk or Air. The whole thing, however, is very ... washed-out, perhaps lacking personality. The song that gives the album its title, for example, in its central part is truly exquisite, with the vocalist sensually repeating the chorus and behind her, the sound machine evokes claustrophobia, so much so that when the piece ends, there's a certain sense of relief.

Some things remind me (forgive the blasphemy) of Portishead like track 4, "Tiptoe," as well as track 6, "Hairy trees," with its densely post-industrial feel. The best parts are found in the middle of the album. Then "Strict Machine" invokes Moroder or Donna Summer and the album fades with the penultimate "Forever," languidly unnecessary, and the instrumental "Slippage."

However, be careful not to stop at the first listen: some sounds are only noticeable after the second or third round. In short, it gets better as you get used to the aforementioned effect.

I don't know about you, but I want a Florentine steak...

Insipid.

P.S.: the band's website is really worth a visit, it is SPECTACULAR. Perhaps one of the most beautiful websites ever. Go there nowwwww!!!