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on 12 January 2017
This CD is cool, I like listening to it when im either painting or drawing. Its my first CD of Goldfrapp. I listend to them before on Forza 2 Soundtrack and wanted hear more of them, so i did, I was pleased! Im gonna get more of there music.
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on 31 August 2017
Great cd
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on 23 August 2015
Very pleased at quick it arrived but very disappointed that the case was broken but still love this album
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on 30 May 2017
On time as described, good background music
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VINE VOICEon 18 August 2003
Not being the sort of person who is easily seduced by singer songwriter types I was, however, totally blown away by a TV airing of Strict Machine and immediately ordered the album. On first listen I immediately knew I was in the presence of something special.
It’s hard to put your finger on exactly what it is that makes Black Cherry such a great album. Is it the sleazy, grinding synth sounds? The digital heaviness which at times calls to mind the Nine Inch Nails at their best? Or perhaps the beautifully arranged string instruments which carve out immediately memorable melodies in the background? Maybe it’s all of these things? All of these things combined with the fact that A.G.’s voice is loaded with such dark and erotic intrigue that it is almost irresistable.

As you would expect for an album cobbled together principally by two dues paid musicians, the arrangements on Black Cherry are never short of technically eloquent. One half of the musical partnership being Portishead collaborator Will Gregory comes as no surprise when you hear the style with which the more traditional instruments are fused to the supra-modern sounding keyboard blips and squelches. Connections aside Goldfrapp sound nothing like Portishead. Their work on this album is somehow more immediate and less cold and haughty than the Head.
There is a hefty streak of pop alongside the rock on Black Cherry and during cuts like Train and Strict Machine (the album’s two hit singles) the tip of the hat to the likes of Blondie and Donna Summer are undeniable. But theres more... This album fits into that trans genre appeal group filled by bands like Prodigy and the Chemical Brothers. You will feel this in no small measure as the surging intensity at the end of Crystalline Green gives way to the crunch and grind of Train before climaxing into the airy summertime of the album’s title track.
It’s a short, sweet album and leaves you wanting more. It’s aggressive yet friendly, sleazy yet pure. This one is a future classic, make no mistake about it.
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on 18 December 2005
My first experience of Goldfrapp was hearing the mesmerising song 'Black Cherry' on a Hed Kandi Winter Chill album I bought last year. Haunted by the surrealistic quality of it and Allison's hypnotic vocals I advanced, ghost-like, to the record store and purchased this album. Scurrying straight home gripping tightly onto my prize, I hoped longingly that it would reveal many more hidden treasures like 'Black Cherry'... and I was not dissapointed. Listening to this album can only be compared to falling, Alice-like, down a rabbit hole and discovering a lush and twisted fairy tale at the bottom. This vibe is echoed by the albums sparkly fantabulous artwork, portraying Allison Goldfrapp as a pseudo-Red Riding Hood (complete with Dorothy Gayle ruby slippers) being both licked sensuously and ravaged brutally by wolves. I find this a marvelous visual encapsulation of the mood and sound of the album.
To actually describe the music is quite an enigma. The content is absoulutely diverse, all honey-dripped eroticism one minute (Black Cherry) and Rainbow-Brite 80's electronic synth pop the next (Tiptoe)- and all with a dash of fairydust thrown in. Lyrics such as:
* *Touch my garden rain clouds, mountains
sunshine all day long, sunrise, meadows
oceans, rainbows starlight all day long* *
and track names such as 'Crystalline Green', 'Deep Honey' and 'Hairy Trees' should prepare you for the lush, subversive and sometimes dark lyrical content of the songs. Use of electronic sound is manipulated beautifully along with the mesmeric quality of Allison's vocals to produce a complete stellar wave of uber-uber-uber deliciously cool music and sounds. Listen to it and envy the creativity!! I have booked tickets to see them live at Brixton Academy in Feb and I am simply trembling with anticipation of their highly theatrical live performance!!
((((::::((((::::Goldfapp Rock!!::::))))::::))))
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on 17 October 2003
I bought this album on the strength of 'Strict Machine' and I am so glad that I did.
At first listen this is a quirky, uncomfortable and almost odd selection of tunes and sounds. But as I played it over and over again on my headphones (whilst laying on a beach in the Med) I fell in love with 'Black Cherry'and Goldfrapp.
The album kicks-off with 'Crystalline Green', and uplifting, dreamy and almost anthemic tune. I hate the catch-all term 'chill-out', but this tune will do precisely that - chill you out. However tune two, 'Train', is a slap round the face the pick you up, and make you listen; a chugging, charging and extremely addictive bit of electro-funk. The song 'Black Cherry' is a psychadelic soundscape, with Alison Goldfrapp's vocals sounding like a lullaby.
The biggest suprise for me was 'Tiptoe', a classy number, with strings and big raunchy power! To me it actually sounds like the best 'Bond' theme that was never made (Bond film makers take note please).
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on 25 August 2015
Goldfrapp's second and for me personally, their best album.
Stunning , shimmering electropop with the golden voice of Alison Goldfrapp poured over the top - this is audio heaven.
What a great duo they are - experimental, haunting, thought provoking, electronic funky soul with Alison Goldfrapp's voice sweet honey gliding over the top of the danceable, thumping shimmering electrobeat.
If you like groups like Moloko, Ladytron, New Order, and individual artists like Kate Bush, Tori Amos, and Kylie Minogue you will love them.
Sublime, Haunting and Beautiful.
If I could give it more than five stars I would.
Stunning and Essential, if only all music were as good as this.
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on 15 March 2004
Goldfrapp's second album ups the ante with an electroclash-tinged masterpiece of sleazy disco-funk and soulful torch tunes. Alison & co bravely embellish upon the icy swoon of 1999's Felt Mountain with a braver, more upbeat and essentially more challenging record. The opener, 'Crystalline Green', sets the tempo with raw, swirling synths over pulsating r&b basslines in what could be described as a mutant hybrid of the Sugababes and German avant-rockers Can. The following track 'Train', and the first single from the album, is a disappointing glam stomper with synth riffs evoking a T-Rex style swagger which never quite convinces. 'Black Cherry' puts things back on course with some soulful balladry akin to Felt Mountain but replacing the scenic fantasy with a heavy drenching of distorted 80s keyboards. It is a torch song worthy of Hounds of Love-era Kate Bush, a feeling that is evoked similarly on the brilliant 'Deep Honey', which builds softly into a climax of chiming bass-synths and icy breaths. In between those two tracks though is 'Tiptoe', which returns to the raunchy disco-funk of the album's opener and manages to transcend sounding like Britney Spears by building into a mournful crescendo of keyboards and sweet sighs. 'Hairy Trees', alternatively, evokes Mezzanine-era Massive Attack, and is as good as anything the Bristol pioneers made with Liz Frasier or Nicolette on vocals. This is followed by 'Twist', which takes the electroclash theme to its literal extreme in what can only be described as orgasmic - violent synths and throbbing bass colliding over x-rated lyrics and sensual squeals. Things peter away a bit after this high-point, but the majority of this album is so innovative and memorable that it doesn't matter. Goldfrapp have taken a rare musical gamble with this album, which sacrifices none of the emotional power or vivid imagery of its brilliant predecessor.
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on 19 February 2004
Goldfrapp emerged onto the music scene at the turn of the century with the debut album Felt Mountain. The excellent single Lovely Head got hijacked by mobile phone adverts and helped shift half a million units for Mute. Containing atmospheric John Barry inspired lo-fi songs, Felt Mountain became one of those coffee table albums filling a gap for those who mourned the passing of Portishead and The Sneaker Pimps. Personally, I could take or leave it and soon forgot about them.
Fans were expecting the follow-up to be a safe version 2.0 of Felt Mountain. You can imagine how shocked some are to find that Black Cherry is in fact an in-your-face electronic album with grinding analogue basslines, chattering synths and dominant beats. As the lead singer Alison said, ‘we went into the studio and turned on the machines’ and this welcome change in direction has thankfully provided a more varied album. Goldfrapp are no longer a band for 40-something dullards. This sleazy electro pop with suggestive lyrics (about the delights of oral sex on Twist) is aided by many weird sounds of invention. Analogue in nature with as many layers as the Human League’s 2001 Secrets album, Black Cherry is quite an achievement technically. This is the kind of album Madonna had tried to make with Music and American Life but she never quite pulled it off.
With no retro nods back to that era, all the tracks sound oddly modern. The first single released ‘Train’ was enough to win me over with its updated glam rock sound moulded into some very deep bass sounds. This track really owes more to the early 70s than anything released a decade later. The second single 'Strict Machine' (which deserves a rating of 9/10 on its own), has similar glam rock routes but with no guitars in sight. If 'Train' didn’t win you over, Strict Machine will blow you away. It is infectious and unforgettable and no pre-sets were used during the making of this record. Those not yet familiar would hace heard the pervy electro of Strict Machine many a time on TV trailers and adverts in recent months.
Although melodic throughout, this isn’t a conventional album in the classic pop sense. Crystalline Green’s title hints at how sharp this album sounds. You can hear every sound, crisp and clear as most electronic music should be. Fans of Felt Mountain shouldn’t be too despondent, there are still a few of those John Barry moments such as Deep Honey whilst Hairy Trees is very seductive like Saint Etienne at their peak.
Title track Black Cherry though is the real star of the pack. Warm analogue synths and beautiful string arrangements dominate this electro ballad with a vocal performance that simply gives you the shivers. It was seeing Goldfrapp perform this track live on BBC-2 that turned me into a committed fan and the album has rarely left the CD player. The final bonus is that Alison Goldfrapp has an enchanting voice and possibly one of the best female singers the UK has produced in quite a while.
Nu-electro for the cool kids
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