Goldfrapp

Fri 26th Mar, 2010 in Features

8:15 on a Friday night in Sydney. It’s pouring with rain outside as I’m waiting to be connected with Alison Goldfrapp in London. I’m told she’s just finishing her previous interview and wonder how many 20-minute slots she has planned into her day, with mine starting at 9:15am London time.

Goldfrapp has just released its fifth album Head First and, after listening for the first time the night before, I start by congratulating Alison on producing a stunning album with recording partner Will Gregory. If you’re not a Goldfrapp afficionado and perhaps only familiar with Utopia, from their debut release Felt Mountain in 2000, then _Head First _ will almost literally take you head first into a completely up and feel-good space.

Alison describes the tracks on the new album as being “much more up and direct, less ambiguous than previous albums in the lyrical content, and the structures of the songs. We wanted to make something that was really up and celebratory and fun.” If you’re familiar with their third album Supernature, released in 2005, than you might have an idea of what to expect from Head First, as she explains, “we wanted to do something a little like Supernature, (but) something that had a warmer sound to it.” Alison is pleased when I suggest their latest album makes you feel like, and think about, taking on life and living in the moment.

She refers to a wide range of influences on their music, although without being specific she says, “there’s lots of things in lots of things.” A meaningless statement? Not really. You certainly get the impression when listening to Head First that you’re at times being taken back to the late 70s and early 80s. But it’s only an essence of that time. The album itself has an entirely new and inspired life. Is there a little something of early 80’s Abba, a hint of ELO, even a bit of Billy Joel and a dash of Kate Bush? If there is, it’s contained within a very original mix, suggestive of those artists, but with multiple layers both instrumentally and

When I mention the ELO-esque sound in the opening track, Alive I unexpectedly discover Alison’s love for Xanadu. “I’ve just always loved Olivia Newton-John, probably because she’s just so different from me, she’s sort of pure and innocent and smiles all the time – and I’m pretty miserable really and not very sweet.” That’s certainly not the Alison on the other end of the phone tonight. She continues about Xanadu, “I love the arrangement, the epicness of it all, the drama, the colours, there’s just something sort of celebratory to it that I really love. It’s a bit like early Hollywood musicals, (it) has that extravagance, euphoricness, that definitely inspired this album.” Who knew Olivia’s reach could be so far? I get the feeling that Alison may only have opened up about this once I’d confessed to the vast number of ONJ CDs that reside in my collection. I’m not quite sure if the sound on the other end of the phone was a gasp of shock or awe?

The first single to be released from Head First is Rocket, which I tell her has to be rocket rejection, with no better way to say goodbye (to a lover) and she starts to laugh. I can’t help asking if there was someone in particular she had in mind. Her response is slow to start, with just a hint of wickedness. “Probably a few people actually…” We both laugh. It’s certainly a very ‘up’ way to sing about someone who’s pissed you off, and that you’d like to send off into the wild blue yonder. And why Rocket as the first single? “Choosing the first single always feels a bit random, it’s as good as any.” That rings true for this album, as the nine tracks on Head First are equally and consistently great.

Does she have a favourite track on the new album? “No, I can’t pick a favourite, it’s quite funny actually, when we start playing live I often have a favourite one that I really like performing live. It still all feels very fresh.”

Voicething, the final track on Head First, is a beautiful exploration of her pure vocal quality, which is also striking in her spoken voice. “I do love the tune for Voicething... love the way it sits on the album, because it’s so completely different from the rest of the songs…the diverseness, is something I really enjoyed doing. I love choirs and voices, it was fun to do something with just the voice, which I’ve wanted to do for a long time.

“I think music is visual, I think all music has a narrative, everything has a narrative even if it appears to be very abstract. Music does take you on a journey.” And the image this track creates for Alison? “Really massive, wide open spaces and kinda flying or something. I think all music takes you on a journey and that’s certainly the way it is when we’re writing a song… it’s a musical journey into sound and narrative.”

Alison fondly remembers Goldfrapp’s gig at the Sydney Opera House, how much she enjoyed Melbourne, and performing at lots of festivals that were very dance-orientated. Not surprisingly, they have different set lists for different venues. “If we’re playing festivals we usually play a different set list because you just don’t play for as long, festivals are more about a party mood, a very different atmosphere where we might be fighting against sounds that are coming from other tents.”

Goldfrapp have started putting a band together in preparation for their tour which kicks off in the US in May, followed by a tour of the UK. “It’s fantastic to be playing with band mates, ... we’ll be doing a lot of summer festivals and touring in the UK and the world.” What about Australia? She says yes, if they’re invited. Fingers crossed for tour dates soon!

Goldfrapp’s latest album Headfirst is out now.