Felt Mountain by Goldfrapp (Review)

One of the most surprising and stylish records of 2000 is this incredible CD. Alison Goldfrapp is not only an incredible songwriter, but also has a voice that lies somewhere between Kate Bush and Portishead’s Beth Gibbons. Goldfrapp has collaborated with great artists, from Tricky (Maxinquaye) to Orbital (Snivilization and The Middle of Nowhere) to Add N To X (Avant Hard) to even Peter Gabriel (an uncredited appearance on OVO: The Millennium Show).

But after those excellent collaborations, Goldfrapp realized that she had the right to prove that she was more than a highly solicited voice. As a result we have the stylish and seductive Felt Mountain, an album in which she joined efforts with fellow composer and musician Will Gregory, with great results.

This is not a completely electronic album; it goes beyond that. Felt Mountain transports me to a world that only Kate Bush’s Hounds of Love, Björk’s Post, and Bows’ Blush have been able to take me to. The songs have influences of both Bush and Bjork, as much as Portishead, Combustible Edison and Tom Waits. “Lovely Head” has a very english air, and is one of the most sensual songs here. “Pilots” has an elegant, narcotic feeling, and gives a cyber-jazz impression. “Utopia” seems a Black Box Recorder song (look for the excellent and radically different remix by Tarwater on vitaminic.com). “Paper Bag” take us to territories in which Kate Bush and Happy Rhodes have been before, but with a very particular vision.

Felt Mountain is a monumental soundtrack-like sound in which Alison Goldfrapp uses her siren voice the way that Laetitia Sadier and Miss Lilly Banquet do. I could say more, but then I will spoil your experience. This is undoubtedly one of the best things to happen in 2000.

Written by Pekky Marquez.