Alison Goldfrapp and Will Gregory, the two Brits behind Goldfrapp, are best known for making slinky, bass-heavy dance music. Their 2005 album Supernature is a fine thing to have on your iPod when you're jogging. Or when you're hosting an orgy, I would imagine. But I actually prefer an earlier, spacier incarnation of the band. Back in 2000, Goldfrapp released Felt Mountain, which abounded with weird, low-BPM cosmic folk. The influences were overt - Portishead, cabaret, Spaghetti Westerns, ambient, James Bond ballads - but distinctively mingled. On "Utopia," Alison Goldfrapp whisper-sings about genetic engineering over fake violins, operatic backup vocals, and what sound like plucked piano wires. The beat gradually inflates, accrues electronic elements, and ruptures into a synthesizer-laced chorus: "Fascist baby / Utopia, utopia." It would be cheesy if it weren't so unsettling. Same goes for Goldfrapp's latest single, "Drew," which marks a return to the Felt Mountain sound: the processed strings, the minor-key composition, the sense of dread. When All Songs Considered spun "Drew" last month, the hosts were taken aback. Bob: "I didn't imagine this sound." Robin: "Not at all what I expected." Lars: "Sounded to me like a good James Bond movie." Everything old is new again.
The absurdity of this video for "Lovely Head," the lead-off track from Felt Mountain. A half-dressed Alison Goldfrapp stumbles druggily about someone's backyard, flinging lawn furniture.