Customer Reviews

Supernature

5 star:		(40)
4 star:		(19)
3 star:		(12)
2 star:		(5)
1 star:		(3)

 

 

Um, DAMN. I really enjoyed Goldfrapp's 1st album, Felt Mountain, which was ballsy in its baroque string arrangements, Alison's Shirley Bassey delivery, and its utter lack of caring whether or not it could be danced to. This is MUCH less innovative. So why do I love it so? It's one of the few albums in my entire collection that I could easily put on at a party and not ONE person would hate it, or want to change the disc. The last time that happened was probably Blowback by Alison's old friend Tricky. Anyone who buys a lot of electronic music knows this dilemma--YOU know how cool the album you just bought is, but people less cool than you think it sounds like Depeche Mode on ketamine. With Supernature, bliss will abound.

This is certainly one of the poppiest things I own, and yet also a satisfying, joyous, sexy listen, with NO WEAK TRACKS. The videos on the DVD are utterly worth it; Alison has developed an amazing stage presence and a totally playful and ironic way to project her sexuality. She's a dreamy and somewhat geeky sex symbol for smart boys. If you're straight, male, and have an IQ over 120, you WILL SWOON. You have been warned.

Perfect for fans of any form of contemporary or retro electronic music, provided their sense of fun outweighs the degree to which they take anything seriously. This is the sexiest, most debauched thing I've bought in, well, EVER.

Heralded as one of the best albums of 2005 and counting Madonna as a fan, Goldfrapp's third album is a radical departure from their debut and a natural extension of Black Cherry. While not as darkly ecletic as Felt Mountain, Supernature is still nonetheless a gem in its own right.

Fusing great dance and electronic elements together along with Will Gregory's trademark production, this is one hell of a dance record. There's the funky retro Ooh La La, the irresistable electro anthemn #1, and the poppy Ride A White Horse, all of which have been cleverly released as singles. Other great tracks include Slide In, Satin Chic and Lovely 2 CU. In fact, it's the album you pop into the CD player and you won't stop grooving until the end.

On the US edition, the track Beautiful is tagged along as a bonus. Beautiful sounds like it could have been on Black Cherry, a little chilling and atmospheric than most other tracks on Supernature.

The DVD companion on the Deluxe edition is something of a treat. Audiophiles get the 5.1 treatment of the album along with photos, videos and live footages. Not be missed is the teasing video of #1 featuring Alison Goldfrapp with her dog doc in the ops theater.

Not that America is going to warm up to any good dance records, but Goldfrapp's Supernature is a treat for anyone with a keen ear for good music.

I originally purchased "Supernature" as an import, so I've given this album a solid day in court. While it has grown on me in the last few months, my opinion still stands: "Supernature" is good solid stuff, but it doesn't measure up to Goldfrapp's first two albums.

"Felt Mountain" was a dreamy voyage through svelte lounge pop, and "Black Cherry" was a spewing geyser of electro-synth technolust. "Supernature" is, musically, a perfect chimera of the two: sedate-ish pop songs with time-signatures, progressions, and structure similar to those on "Felt Mountain", but using the electronic wall-of-sound from "Black Cherry". Like "Felt Mountain", the songs on "Supernature" are largely free of musical hooks. This lack of hooks contributed to "Felt Mountain" being a downtempo masterpiece, but it makes pop music seem ephemeral, which is "Supernature"'s greatest weakness: many of these songs don't stick around in your mind after they're over. They're nice to listen to, and as far as pop music goes they're very innovative, but they just doesn't leave you haunted.

I do enjoy this album, even though I initially found it underwhelming, because the duo are still putting together songs that are untraditional and interesting. The arrangements have a beautiful complexity and Allison's vocalwork are clearly among the top 1% of her peers. That said, I didn't notice this right away, and the uniqueness of the tracks really come out with repeated listens. They're more subtle and don't rely on either raw energy (ala "Black Cherry") or a unique lounge vibe ("Felt Mountain"). So if "Supernature" doesn't live up to your immediate expectations, give it some time. It may grow on you.

While I think this album is the weakest in their portfolio, it's still a good listen, and besides, even Goldfrapp on an off-day makes most radio-standard pop seem like algorithm-generated plodding.

Note: the US release differs from the original UK edition in that it has a bonus track, "Beautiful", a B-side from the "Number 1" single, and thankfully this is one of the strongest songs on the entire CD. For those completists out there who already have the UK version, it's really difficult to justify spending $15 just to get one new track, so if you're torn, you'd be better off tracking down the "Number 1" single (since it has "Beautiful" and another exclusive track, "All Night Operator", and some remixes).

(In case anyone out there is wondering, unlike the import version of this album, the US release has neither copy protection nor OpenDisc-based DRM technology, which can cause problems with computers, car stereos, portable disc players, etc. The US release is the way a music CD should be.)

I've had the import version since last summer, and it's remained in very heavy rotation ever since. I dare say it's one of my all-time favorites. I absolutely love the first two albums, but with Supernature their sound has been perfected. Not only have they found their niche - they now rule it. Allison Goldfrapp has become the reigning queen of electronic pop. All others should kneel before her and weep with envy. Supernature is flawless. Every track is sheer aural magic. The majority of the album is ultra-swank disco-pop, but there are of course a couple of chill tracks akin to "Utopia," "Pilots," "Black Cherry," "Hairy Trees," and the like that will momentarily pull you out of the club and into that semi-familiar dreamworld of snow-capped mountains and fields of rainbow-colored blooms.

All that said... I don't think "Ooh La La" and "Number 1" were the best choices for the first singles. "Ooh La La" is the only track that seems a bit derivative of Black Cherry's hit singles, and "Number 1" is just not one of the best songs. Both are greats tracks - no doubt - but I would have chosen one of the more unique electro-disco-cabaret stormers like the suggestive "Slide In" or "Ride A White Horse," the cool, catchy, mid-tempo pop gem "Fly Me Away," or the gorgeous, Felt Mountain-esque "Time Out From The World." These four tracks - along with "You Never Know" and "Let It Take You" - are my personal favorites, but there really isn't a skippable track.

Perhaps there is something supernatural at work here... some type of witchcraft casting its spell over me... or maybe this is just a ridiculously talented duo that knows how to make damn fine music. In either case, do not miss this masterpiece!

One of my favourite albums of last year was Goldfrapp's incredible third album "Supernature." Released in August 2005, the album stormed to No.2 in the UK album charts and has since gone platinum and spawned a slew of chart hits. The album was originally intended to be released in America soon after, but this release date got postponed until March 2006! That means I've been waiting seven months to review this absolute little beauty of electro-glam pop-rock. With the release of this album Goldfrapp have gone on to become one of the most loved and treasured bands in the UK, and their incredible rise in popularity was well deserved.

On this album, Alison Goldfrapp and Will Gregory took all the elements of their sophomore "Black Cherry" and re-energised it into this wonderful and high-speed concoction of disco pop wizardry. The sound of Goldfrapp has gradually evolved, becoming more commercial with each stunning album. Some say they've sold out, but I disagree. It's only natural for a band of Goldfrapp's calibre to expand and widen their horizons. They were already critics darlings from the word go, and it was only a matter of time before the general public caught on. Hopefully this album will push Goldfrapp into the stratosphere and onto the upper reaches of the Billboard Hot 100. However, with singers like James Blunt currently occupying the No.1 spot, I won't hold my breath.

The album opens with the lead single, "Ooh La La." This song became a huge chart smash in August 2005, peaking at No.4 on the UK charts. The song was used in adverts and promos, became a mainstay on national radio and seemed to be played on music channels every other minute. The beat to this song bubbles with an electric buzz that is pure Goldfrapp. The guitars are wonderfully, Alison's vocals dripping with sex and vigour. The instrumental section in the middle is an all-out riot and I go crazy in clubs dancing to that particular piece! "Lovely 2 C U" is another brilliant song that leads on where the last left off. This song is almost rocky with heavy screaming vocals and guitars that surge through your ears like a steam train. The electro-crunches make this song so unique, but it pales in comparison to the beauty that follows. The song is "Ride A White Horse," the third single to be released from the album. Opening with a funky beat, the song soon morphs into a glitter-ball aural wonderland with bright synths colouring the musical canvas and Alison's breathy vocals lifting the chorus to levels of beauty unmatched by the band previously. This could well be the pinnacle of the band's career. It's very camp and metro, made all the more evident by the whip-cracks just before the second chorus explodes. It's clocked up more than 130 plays on my iTunes and this number will only grow higher and higher!

"You Never Know" opens with screechy early Kate Bush vocals, although not quite as operatic. This song is memorable for its stop-start technique that works very well. It reminds me somewhat of a blend of "Tiptoe" and "Hairy Trees" from the previous album. The beat is wonderful and builds until a high climax of airy musical excellence. "Let It Take You" is the album's main slow song and what a song it is. This is a chance for you to kick back and relax to the gorgeous Bond-style strings that seep out slowly over Alison's seductive vocal stylings. The strings build to an expansive height at the third minute and there's a sense of release which is almost erotic. The strings are pretty heavy all the way through and pound over and over like a bell chiming to your soul. If this song were a colour it would be black, with occasional swathes of white.

"Fly Me Away" is a step down from the previous songs, but it's still a catchy pop song with a strong beat and vocal melody. The lyrics aren't up to much and Goldfrapp have definitely done a lot better, but it still works in context with the album and somehow makes me feel like I'm flying. "Slide In" is a very suggestive title for such a brilliant song. The beat starts off and soon spirals down as synths seem to drive in from every angle. This builds with breathy vocals up until the 37th second when this *incredible* beat just hits you and will have you up dancing in no time. The way its formed is just pure genius and it hits me like a hammer to the head every time I hear it. The chorus is chunky and bulky with more electro dance sonics for you to feast on than you could ever hope for.

"Koko" is another incredible song which I adore purely for the vocal melody. It opens beautifully with at-first indecipherable vocal lines from Alison, which soon become clearer as she sings, "Breathe! Back! Into Life! Stabs! Of! Happiness! Now! We're! Having Fun! Hold! Tight! Don't Look Down 'Til Dawn! You Glow!" It's absolutely wonderful and her vocal tone suggests pure ecstasy. "Satin Chic" is viewed by many to be one of the best songs on the album, but I can't see it! Hinted to be the album's fourth single, this song is a fusion of pop, rock and cabaret, but I've never clicked with it. "Time Out From This World" is the second of only two really slow and relaxing songs on the album. It's more akin to something you'd have found on "Felt Mountain," and has a beautiful chorus that reminds me of standing on top of a mountain. The album ends with the static "Number 1." This was the second single to be lifted from the album back in late 2005 and peaked at No.9 in the UK charts. The electro-ness of this song is gorgeous and startling with an achingly beautiful verse structure. The point at 1:16 where the melody becomes louder and more obvious is a revelation and will have you humming for life!

OVERALL GRADE: 10/10

Goldfrapp really struck gold with this album winning critical and commercial acclaim from the most varied of sources. I have been playing this album non-stop for nearly eight months now along with the band's previous two albums and I just can't see any reason for not continuing. The band have been criticised by some for being bland and unoriginal, which I just laugh at. Goldfrapp are anything but unoriginal. There's people imitating their sound, yes, and Goldfrapp have been influenced by a lot of music from the 1970s and 1980s, yes, but there's no one else out there doing it better. There's moments of pure pop genius electricity on this album, and that's why I predict Goldfrapp will be around for a long time.

For those who loved FELT MOUNTAIN, you'll be disappointed. For those who loved BLACK CHERRY, you'll be ticked pink. SUPERNATURE is the steroided-up for the U.S. market version of that import that came out last year, loaded with a BONUS DVD chock full of goodies, including an ultra-cool glimpse at Golfrapp's creative process (LITTLE BITS OF GOLDFRAPP) amidst the lush English countryside and lots of eye-popping, dead-cool videos, a wacky animated short film called JACKKO THE POET, etc. The album? If you've heard the pitch-perfect electro-glam-pop singles NUMBER 1 and OOH LA LA, you know what to expect: essentially, Alison has taken BLACK CHERRY's signature blend of electro-glam and tarted it up with traces of T. REX using cutting-edge technology as icing on the cake - it's a potent brew, indeed. While the slower tracks, LET IT TAKE YOU and TIME OUT FROM THE WORLD, offer a faint taste of the early mystique of FELT MOUNTAIN missing from most of the cuts here, Goldfrapp's uptempo grooves peer into the future while paying homage to the past - and who can argue with the sheer power, craft, and joy found in the cluch of singles (in addition to NUMBER 1 and OOH LA LA, there's also RIDE A WHITE HORSE and Japanese bonus track BEAUTIFUL) that really impress. Sure it's all a bit of a formula now and they might even be repeating themselves a tad, but if it ain't broken, why fix it? Bottom line: is there anyone as drop-dead cool as Alison Goldfrapp these days? This is the kind of pure pop perfection Madonna wishes she could create, but forgot how. When you combine the band's visual persona, the music, Alison's unique vocal instrument, and their overall total package, GOLDFRAPP is a force to be reckoned with - let's hope they finally have a massive breakthrough in America that they deserve it, finally showing all the other pop-pablum pretenders "how we do!"

I was blown away when I first heard Felt Mountain, and tracked down all the Goldfrapp disks I could find. Felt Mountain's amazing, surprising, and adventurous: each of the songs is totally different, and much more psychedelic than more traditional electropop. The sound, and the skill used in putting together the instrumental tracks on that album, are superb. The string arrangements on Felt Mountain are great, too. Black Cherry was a little more industrial-sounding, but still had great, funny vocals and lyrics, and the songs weren't all homogenous as they are on this one. Supernature is bland and safe. I've listened to this a bunch of times through expecting to suddenly be blown away, and it just hasn't happened. I had such high hopes after hearing Felt Mountain, and it's a shame that she seems to have gone the way of safe mainstream corporate industrial electropop.

Importing this album at an earlier time, many Goldfrapp fans enjoyed what was and still is an immensely enjoyable album. In fact it's by far one of the best albums to be released over the past decade imo. Now just in time with the US release comes the DLX edition which is worth every pennie. Even for those who already own the album.

Besides the added bonus track "beautiful" which just makes the album that much sweeter, is the bonus DVD included. What makes this particular disc better than most is the enclusion of a DTS 5.1 mix of the entire album (excluding the bonus track). Considering most DTS mixes cost 2-3 times the price of this package, and don't sound anywhere near as good as this, it feels more like a reward and a thank you by the band for the fans. I encourage more bands to go to this effort in the future.

In the end for those who already own this album, do me a favor and give your copy to a friend and purchase this release. It's time to spread the word that Goldfrapp is the rebirth of true DIVA's like Shirley Manson and Madonna prior.

This is such a cool album, and the extras are really worth it.
I love the opening track, the Ooh La la, it sounds like modern glam rock with a cherry twist. I don't think this album is as good as the previous Goldfrapp outputs, some songs are on the bland side, and the lyrics are often kind of insipid or borderline silly, but the whole thing really works. The slow ballads are as good as it gets, and the dance numbers are great.
The bonus DVD disc is such a cool gift, these are not things that were left on the cutting room floor, but very good and tasty material. You get videos, photos, candid behind the scenes and all.
If you like adventurous pop with a nice kick, you will not be disappointed in Goldfrapp's latest release, and this bonus version is the one to get.

I originally purchased this album when it was released in the U.K. back in August of 2005. The U.K. edition contains only eleven songs and no bonus disc, and when I first listened to it I didn't really like it. I felt that the album was too short, Alison Goldfrapp's vocals were pretty but not stunning, and the lyrics lacked that unique, slightly twisted quality that was so much a part of Black Cherry and Felt Mountain. To me, Supernature is much less challenging and much more conventional than I had expected it would be, and while it is still not my favorite Goldfrapp album, I don't despise it quite as much as I used to. I don't think that Alison and Will intended Supernature to be the intellectual effort that was Felt Mountain or the sexual affair that was Black Cherry. It is an album that was inspired by glam rock and disco, and thus it is more playful and fun and doesn't take itself too seriously. Basically I was expecting substance and I got glamor instead, but the album has grown on me since then and it's not all bad. The inclusion of the bonus track "Beautiful" on the U.S. deluxe edition is a major improvement over the original release. The original release was too short and ended with "Number 1," one of the weaker tracks on the album in my opinion (why it was released as a single I'll never know). "Beautiful" closes the album with the bang that the U.K. edition was missing. The material on the DVD is all very good excluding the animated feature "Jaako and the Poet in Frappworld," which looks like it was created for and by a five-year-old. I do not think that Supernature is Goldfrapp's best work, however, it is glitzy, fun, danceable, and will undoubtedly initiate legions of new fans.