Review Summary: A stunning, stunning work.
How many artists have changed as much as Goldfrapp have, in only 6 studio albums? None, by my reckoning. Album after album, Goldfrapp pull huge stylistic changes, almost as if to alienate the audiences they found with their previous sound. Do Supernature and Felt Mountain sound any little bit similar? Is there any resemblance between Seventh Tree's lush, pastoral folk and Black Cherry's severely sexy synths, besides that glorious, smooth-as-butter voice? Nope. And on Tales of Us, Goldfrapp have once again pulled another style out of their never-ending bag of tricks; this time, it's all folk lushness รก la Seventh Tree, but with a profound darkness that hasn't really been seen in their work before.
And that darkness makes all the difference. Had the album been lighter, and airier, this could have been a sequel to their fourth album, or were it more electronic, a return to Felt Mountain. And yet it's neither; it's a much more complex beast, darker, and much more difficult. Interestingly, every song is named after a person, and in a lot of ways that creates more difficulty interpretation-wise. First names aren't as telling as titles like "Shiny and Warm" or "Ooh La La" where you know what you're getting, and really that just makes the album more exciting on first listen. Without normal titles to cling to, the tracks and lyrics speak for themselves, and creates a mysterious, uncertain mood. It's a neat trick and it serves the album well.
But what about the music? In my opinion, this is the best sound they've ever had; Supernature and Head First were both fun, but I don't think Alison's voice is quite as suited to dance as it is this kind of stripped back folk. And stripped back it most certainly is; many tracks are just Alison singing with a guitar accompanying, as in the seriously, deeply haunting "Annabel". Similarly "Alvar" uses only slightly detuned guitar strums to create a menacing, dangerous, but ultimately quiet atmosphere. Other tracks incorporate synths, and yet they don't feel a bit out of place, and are implemented well enough to enhance the mood, rather than hang around merely as window dressing. On lead single "Drew", goosebumps are sure to be raised as Alison's signature purr contends with a stunning arrangement of piano and sensual, stunning bursts of strings. Only Thea really feels out of place here with it's synth-y beats, but that's only in terms of production, as the album's atmosphere is still felt.
Lyrically, it's also Goldfrapp's best album, which is an area where I don't think they've always been successful ("touch my garden", anyone?). Of course you'll need to Google some of the lyrics as they can be difficult to make out (Alison often only half pronounces words for effect), but they're mostly rewarding tales of obsession and love. "Jo" is quietly chilling as the production drops back and Alison sings "You better run for your life". Album closer "Clay" is a story of two lovers in the army, one of them writing a letter to the other years later; it's stunning stuff, and yet never sappy or cloying.
I have to hand it to them; I've not always liked their work, but Tales of Us is one of the albums of the year, for me at least. It may take a few listens, and the dark style can be hard work, yet it's a rewarding listen and a masterclass in mood and atmosphere. Sit back with your very best headphones and give it a listen.
