Day 0917 - Felt Mountain

Goldfrapp "Felt Mountain" (2000)

This one was a bit of a surprise.   I'd thought of Goldfrapp as being more electro-pop (actually I'm pretty sure their later work is), and Alison Goldfrapp had done some work with Orbital, and on Tricky's trip-hop magnum opus "Maxinquaye", but this definitely doesn't sound like electronica.

Alison was introduced to Will Gregory and the two hit it off and started collaborating, deciding to form a band under Goldfrapp's distinctive surname.

As above, the album does not really sound electronic, it's more of a theatrical record with lush strings and a definite cinematic feel.   The opening track "Lovely Head" is interesting, sound effects and a lonesome whistle backed with strings the combination of which just screams Ennio Morricone, then it gives way to what sounds like a John Barry James Bond orchestration.   The title track has a definite Bond/Barry vibe to it too, this impression is heightened by Golfrapp's (the person) occasionally Shirley Bassey-esque tone such as on track "Human".   Her voice moves from hushed whispers to low croons to big belting notes.

I definitely dug this one and should probably seek out a bit more Goldfrapp (hopefully there'll be some more on the list).

Day 0789 - Maxinquaye

Tricky "Maxinquaye" (1995)

Tricky had achieved some notoriety appearing on Massive Attack's first album "Blue Lines".   He had brought that group a song he'd put together with teenaged singer Martina Topley-Bird but they rejected it.   Tricky released it himself and started working on music for his first solo album, including some more tracks with Martina.  The title of the album is a sort of portmanteau of Tricky's mother's first and last names: Maxine Quaye.

Tricky produced with the album with Mark Saunders, bringing in a number of vinyl samples which other producers might have rejected due to their excessive hisses and crackles.  Tricky mixed these together with some low-tempo beats, and deep muddy bass to create interesting but sometimes uncomfortable soundscapes onto which he layered lyrics fuelled by paranoia, angst and depression.

Tricky brings a lot of fresh references, sampling "Glorybox" by Portishead on "Hell is around the Corner" and the Smashing Pumpkins' "Suffer" to brilliant effect on his track titled... er "Pumpkin".

This is a solid and interesting trip-hop album that I'd place on a par with the first two Massive Attack albums.   I'm interested to investigate some of  Tricky's other solo releases, though I've read that he never topped this one.

Day 0391 - My Aim is True

Elvis Costello "My Aim is True" (1977)

 
Costello mixes 1950s-style rock n roll with the dirty production sound, angst and sneer of punk.  In some ways he was anticipating the 1980s’ fondness for all things 50s (back to the future, cry-baby, nu-greasers, plus all of those people who really just wanted a return to the 'golden years' when they could be racist and sexist with impunity (MAGA)).

According to the book, he had not recruited his band 'the Attractions' for these sessions. He recorded the album over six 4-hour sessions in a tiny little 8-track demo studio - which probably helps lend it its gritty sound.

"Welcome to the working week" is a catchy, danceable number, "Mystery dance" is boisterous rockabilly and "Alison" is a more tender track.

"Watching the detectives" (not on the original album but released shortly after and included on the version I listened to) is a little bit of white-boy reggae/ska that mines a similar vein as artists such as the Police and the Specials.