![]() Goldfrapp were never massive chart-botherers, but they defined the sound of Noughties pop, with everyone from Madonna and Christina Aguilera to Girls Aloud and both Minogues seeming to riff on the template the pair dreamed up. She met Gregory in 1999, the pair taking “f***ing ages” to make expansive sonic universes that never seemed to rest in one genre for long – the band’s label got so used to production delays and pivots in sound that they more or less left them alone shortly after signing them. A strict upbringing in rural Hampshire led to a few years of teenage rebellion, followed by art school and time on the fringes of the electronica and trip-hop scenes, lending vocals to tracks by Orbital and Tricky. ![]() She’s always been a breaker of rules, though. At times it feels like a perfect amalgam of her back catalogue, bouncing between the vampy maximalism of the Supernature album and the airy elegance of its left-turn follow-up Seventh Tree – something she remembers as the “worst commercial decision” she and Gregory could have made back then. Goldfrapp’s vocals are dressed in reverb and dabbed in synths – some are icy and sparse, others romantic and bubbly. Recorded in a home studio set up in the pandemic, The Love Invention is a breathless dance-pop album, a 11-song parade lent extra lustre by producers including Röyksopp and Richard X. Then I started listening again and it was, like, wa-heyy!” “‘What was that? Woooo!’ ‘That sounds phwoaaar.’ It’s a bit like doing homework. When I listen to music, I go in there, you know? I’m thinking, ‘How did they do that?’” She becomes incredibly animated. “But I sang in the car a lot, and that’s where I started to regain my love.” She fell out of love with music? “I’m being a bit overdramatic – I suppose I just needed to recalibrate my brain. “I didn’t listen to any music, because I needed to have a purge,” she says.
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