A place to discuss all things Goldfrapp, the band.
Alison was in the studio with Will recently, but according to her comments on IG, they were not working on a new material together. Fingers crossed, they have re-established their connection, and it will lead to new music eventually. So hard to believe it’s been almost a decade since their last album together
Alison always made it sound like their - hiatus? disbanding? whatever the right word is - was fairly drama-free, if I remember correctly. So there’s always hope, if not for a new album, then maybe dusting off some unreleased old material for reissues? Seventh Tree and Head First’s 20 year marks are approaching (god, that’s disgusting. I’m so old).
I think they’re good, and just needed time to go off and do something different. These people have music that sounds great because it’s about more than the money aspect. At least that’s how i see it with them. I’m really looking forward to something coming out because alison’s solo efforts feel a bit soulless to me. Not the worst music to come out, but it’s missing a magic ingredient Will just brought to the table.
She posted another photo on April 1st of them together in the studio for a second time and I remember it had a caption saying this isn’t an April Fools, so I think they’re working on something
My bet it’s for her next solo album, with Will co-producing a few tracks. Kinda like when Olaf appeared on Radical Romantics without bringing The Knife back together. But I’m happy to be wrong.
Okay it looks like something is happening after all
Will and cellos!!
We need a new Goldfrapp album to soothe us during these trying times!
I am, mouth agape, ready to be fed by Alison x Will as Goldfrapp again!
On Goldfrapp’s Reddit topic, there is an investigation of “the lost/unreleased” Black Cherry official video from 2003. IMDB lists the video as the work of Pedro Pinto. The Reddit user has apparently contacted Fascination Management and the director himself for further details on this.
I wasn’t aware of this until today; perhaps you know more about it?
I heard about this but only as a passing comment on the Goldfrapp forum when we found out the “Fly Me Away” promo video was scrapped.
According to Alison’s latest post on IG, they are working on a film score with Will, but she can’t name the title yet. I suppose it will have some actual songs as well.
She’s also said ‘Goldfrapp music is taking a back seat for now’…sigh.
Edit: Feel like I should clarify, I love her solo material too! Just after these recent pictures I’ve been yearning for something more in the style of Felt Mountain/Seventh Tree/Tales Of Us. That soundscape is their peak for me.
At least that kind of confirms that we are getting more Goldfrapp music, which is I think the first time she’s confirmed it properly as Goldfrapp music and not just stuff for another solo record as many suspected
Yesss but it’s for a film score so I’m not sure if Alison will be singing or not unfortch! We’ll see.
Yes, that’s what I optimistically took from it. She said they aren’t doing the score so I (maybe deludedly) thought it must be just a couple of songs. As much as I enjoyed her solo albums I’d love to hear her back on some sweeping, cinematic moody stuff again.
She posted another story today definitely confirming her and Will are working on Goldfrapp stuff but it’ll take a while as their working on the film stuff in between. Great to finally have Goldfrapp back. I can’t actually believe it’ll be 10 years next year since we had a Goldfrapp album!
An 11/10? Well, yes!
Cutouts, the project of multi-artist and Nation of Language member Alex MacKay, has shared his take of Strict Machine.
According, to the press info:
“I first encountered “Strict Machine” as a younger person coming of age in the Bay Area and was immediately drawn to its mysterious, broody, Bacchic energy. The lyrics are somehow both uncomplicated and profound—two quick verses and a 7-word chorus. That directness is in part what compelled us to rework it for the Cutouts live sets this past year.
Goldfrapp’s original will always remain the essential version, but my hope is that this adaptation can offer a fresh translation, drawing upon some of the song’s more submerged elements. We darkened it a touch to match the energy we’ve been aiming to create onstage but didn’t want to meddle too much with a song that still speaks so presciently to fantasies of the man/machine nexus and the complex entanglement of technology and desire”.