‘Goldfrapp’ rocks the U.K., U.S

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By Corrine Love

By Corrine Love

Not your parent’s disco

Glossy, cold as ice, and wonderfully modern could be used to describe Goldfrapp’s third studio album, “Supernature”.

“Supernature” is like its predecessor “Black Cherry” in style, yet it is more accessible. However, even the attempt at accessible pop is a stretch for the duo, comprised of Allison Goldfrapp and Will Gregory.

Goldfrapp uses disco to address her favorite subjects like sex, subversion and couture style. The duo is known throughout hipster circles as “Art-Pop”, which sounds like an oxymoron but Goldfrapp works well within this context.

Goldfrapp has done remixes for Marilyn Manson and Franz Ferdinand songs which gives “Supernature” a slightly different listen than their previous albums, like the atmospheric “Felt Mountain.”

On “Supernature,” the listener gets a feel that the duo is purely making music for them, which is good. The overall cohesion of the record is done with sharp production and seamless flow from track to track.

Goldfrapp will have trouble crossing over into mainstream radio airwaves. “Supernature” only sold 7,000 copies in its first week.

“Supernature” is a bit tempered, but don’t let its mild glaze fool you. There is still the trace of Goldfrapp’s trademark style.  The charismatically stylish singer Allison Goldfrapp slithers and coos over highly stylized discotheque synthesized waves and bass-heavy new wave tracks.

“Supernature” is a nod to the Studio 54 era of disco with parties, glam and debauchery-filled nights.

As far as influences go on “Supernature,” it’s a bit difficult to distinguish where one influence ends and another begins. There are traces of Donna Summer, T. Rex, Prince and the occasional trip-hop beat.

The opening track, “Ooh La La,” featured in a Diet Coke commercial, is catchy without being annoying. The track is also Goldfrapp’s most successful single to date.  

Keeping with the texture of musical concept art, Goldfrapp positively modernizes disco on the Prince-influenced “Lovely 2 C U,” which features an edgy bass line underneath all the synth.

The low-tempo “U Never Know” is decadent and luxurious but never loses the spiked appeal of “Supernature.” The album does not veer into kitsch dance revival territory either. The song “Satin Chic” uses the concept of disco delivered via 2006 production, mixing and engineering.

“Supernature” is fun, glamorous, hip and won’t leave listeners with a saccharine overload once the spin is over.

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