THE TOP ALBUMS OF 2010 #14 - Goldfrapp: Head First

THE TOP ALBUMS OF 2010

#14 - Goldfrapp: Head First

Words by Dirk Calloway

Preface: Each day I write another review of one of my top albums of 2010. I've been working my way up from #20 to #1 and you join us at position #14. Head to the April archives for more!

This album is a 'comfort album' for me. Its cover looks brilliant on my iPhone; there's a definite flow between tracks; each harmony or vocal track hits the exact right note at the exact right time; and its synth-pop theme is consistent throughout. At no point does this descend into some sort of spoof. Just as its predecessor - ethereal Seventh Tree - was faultlessly "ambient," this is faultlessly "80s radiant."

The highlight of the album is the excellent Alive. Its got a throbbing bass line that locks in perfectly with a thwopping drum beat and one of those classic piano riffs that you feel you've heard a thousand times before. Its music video features vampire teeth, aerobics enthusiasts, pentagrams and a bunch of KISS wannabes. The material lends itself to such extremes. Every verse has a flourish of some kind thrown in, and there's a hundred Alison Goldfrapp's in your ears during each chorus. This is the sort of music that lends itself to a kitchen-sink approach, where the band can throw any tricks they've been wanting to try at the production. The video sums that up rather nicely (even if it's thumbnail image is hilariously bad):

Indeed, the band recruited Pascal Gabriel (whom you may recall helped launch Ladyhawke into the A-list of synthpop acts a few years ago) to assist with the production and his input shows. They also brought in Richard X, who has a wicked ear for a tune and another storied career (involving M.I.A. and Roisin Murphy). Between the four of them, they were able to make a remarkable sounding record, that sounds both loud and soft at the same time. I remember thinking at the time I first listened to it, "wow, my ears feel so relaxed, despite this being a really rocking track." I researched who the mixer was and, lo and behold, it was one of the best in the business: Mark Stent. If you've not heard of him, you should check out his wiki page. He's worked with everyone. Genius. With him seemingly adding the last pinch of magic, this album was destined to be in my Top 20.

Most of interest to me now though, several months on, is what makes this a 'comfort album.' I don't have many, so it's always surprising when one gets added to the list. I think it's to do with the way I feel about ABBA. It's overtly theatrical music, self-aware but self-respecting. Perhaps it's just that I consciously try to inject those sentiments into my own songwriting. If it's not that, then it's got to be the way the major chords feel purposefully happy and the minor chords feel purposefully sad. This is broad, obvious, sounding music (even if it's creators are incredibly astute as musicians and producers) that hits my brain the same way as a Big Mac hits my gut on a Saturday.

Tune in tomorrow for more! #13 is a solo album by a super-producer who's really changed up his style this time around...