This past Saturday was Record Store Day! Did you get anything? I did!
The Neko Case LP is limited edition red vinyl and it’s the first time it’s been released on vinyl in over 5 years! Meanwhile, the Goldfrapp LP I got was so exclusive, it’s the first time it’s EVER been released on vinyl in the US and I got one of 4,000 pressings! I was extremely happy to get both of these.
I’ve already talked about Fox Confessor Brings the Flood, so today I’m going to talk about Felt Mountain! This is Goldfrapp’s first album – and it was my first Goldfrapp album. I mentioned before how I was introduced to it via a college roommate. I was hooked the moment I heard the haunting whistle that introduces “Lovely Head.” It still gives me the chills when I hear it. It’s got a very classic Hollywood noir sound to it, a theme which pretty much describes the entire album, but it’s touched with more modern, alien electronic flavors too. This song remains one of my favorites for its haunting beauty. Allison is channeling Marlene Dietrich for sure, but she becomes distinctly Goldfrapp when she sings through a vocal processor at about 1:15. There’s that alienness I mentioned before.
A lot of the lonely, haunted sounds on this album come from the fact that Goldfrapp recorded and produced this album in a bungalow in the English countryside. Allison spent a lot of time alone there, surrounded by mice and spiders. The experience really got under her skin and into her brain, and that’s something that comes through in a way that does the same for you. It’s beautiful but eerie and uneasy too. There’s a touch of danger at times – shadowy figures seen at the edge of your vision, a strange noise in the dark, a light brush against your skin when there’s no one there, a chill running down your spine for no discernible reason.
Being their first album, Felt Mountain isn’t perfect. The next track “Paper Bag,” while nice, is kind of a let down after the amazing track that precedes it. There are some interesting sounds going on, and Allison’s voice is seductive and soothing, but it’s not a stand out track.
“Human” makes up for it. The production on this track is just GREAT. It’s a perfect fusion of classic orchestral sounds and electronic noise. It’s absolutely seductive, even though the lyrics are submissive. It’s begging and full of desire. It’s one of Goldfrapp’s best. I can practically hear it in a Bond film. I’m actually surprised it didn’t make it on their greatest hits album, The Singles, even if they would go on to make better songs.
“Pilots” I think is one of the best of the “quiet” tracks on this album. It’s a very classy and jazzy tune and I like the way that works here. It almost reminds me of a Sinatra song, though I can’t think of which one. There’s another round of singing through the vocal processor that let’s you know it’s definitely Golfrapp. The whole track feels like floating on a cloud – appropriate considering the lyrics and title!
“Deer Stop” is the other great “quiet” track. I can hardly understand the lyrics, but somehow that doesn’t matter here. It’s all about the sound of it. And it sounds like it was recorded in the dark, maybe with a dying flashlight in hand. Maybe you thought you saw the light reflected in pairs of eyes peering out from between the trees, but then they’re gone when you turn back to look for them.
The following two songs are the title track “Felt Mountain” and “Oompa Radar,” both instrumentals with Allison lightly singing nothing over strange noises. The first track is more playful and whimsical. The second is sinister and carnivalesque. Both seem like they could fit into the soundtracks of two very different movies – and yet they fit together on this album wonderfully. The singing is kept to a minimum, which allows you to take them in as aural landscapes. They are cinematic in a way that much of the rest of Felt Mountain is.
Next we come to “Utopia” which is really the one that became the hit off this album. I’ve heard it used in commercials for at least two TV shows in the last several years, so it can be said that it has staying power for sure. It’s the most dramatic track off this album, both in lyrics and in sound. It almost doesn’t belong though. Where the rest of the album has an older, classical sound, “Utopia” seems like it was beamed down by aliens or sent back in time by a future civilization. It’s beautiful, overwhelmingly so, and I think I can see why it’s the one that’s lived the longest. It’s probably the best predictor of the direction Goldfrapp’s sound would head in future endeavors.
The album fades out with “Horse Tears,” which for me is another track that is kind of a let down, seeing as how it follows a much better one. Honestly, “Utopia” could have been the closer, but I guess I can see why they chose this one. It brings the album back full circle to its original lonely, noir themes. Even though it uses a bit of that vocal processor, it just doesn’t do much to save the song. The violin is nice – it punctuates the sadness of this song – but mixed in with everything else going on, it’s all a bit overdone.
Though Felt Mountain has a special place in my heart, it is not a good beginner’s Goldfrapp album! I would not recommend this to a first-time listener! This is one for the more advanced Goldfrapp listener. It’s really great at showing how far they’ve come and seeing what still influences them. Felt Mountain is good, and it even has some SPECTACULAR tracks, but they got so much better. For me, I’m still excited to have this one on vinyl! It’s going to sound great.