WATCH: New Goldfrapp Video for ‘Another’

We’ve got the perfect thing to watch this snow day: Goldfrapp today dropped their new music video for “Anymore.”

The cinematic short is set in a vast desert, a far cry from the blizzard swirling outside our windows as we speak. “Anymore” comes off Goldfrapp’s much-anticipated new album, Silver Eye, out March 31. The band, helmed by Alison Goldfrapp, will showcase more music from the upcoming LP in London on March 27.

“When there’s all this shit around us, and the crazy politics, we need art in our lives. It’s essential to all of us, a lifeline, ” Alison Goldfrapp told Dazed

Take a look at the dreamy video below:

March Music Reviews: Massive Attack, Goldfrapp, Four Tet

Goldfrapp, Head First (Mute) Whereas Goldfrapp’s early material was introspective and cool, the band’s fifth album just might melt the dancefloor and everyone trampling it. Head First is a giddy, 80s-inspired dance offering that, if not exactly reinventing the disco ball, is a blissful shout-out to ABBA’s heavily stylized, grandiose glam. Lead singer Alison Goldfrapp exercises her Olympian voice with throaty gymnastics, only occasionally overshadowed by partner Will Gregory’s pounding bass line. Songs such as “Believer” and “Alive” provide Saturday Night Fever-worthy moments, but the jubilant and kitschy “Rocket” is the album’s gold standard.—Ashley Simpson

Four Tet, There Is Love In You (Domino) Kieran Hebden has always seemed allergic to the mathematics of percussion, embracing the unhinged and unmetered instead. It’s surprising, then, that on the British DJ’s fifth album, his songs are constructed on a bedrock of measured beats—Frank Lloyd Wright this time, to his previous albums’ Frank Gehry. His first single, “Love Cry,” is a nine-minute master class in letting the beat build. “Angel Echoes” splices and dices ethereal voices over a steady bass kick and lingering glockenspiel. Meanwhile, “Plastic People” is the best Aphex Twin song Aphex Twin never recorded.—Ben Barna

Los Campesinos!, Romance Is Boring (Arts & Crafts) “But let’s talk about you for a minute,” insists the opening line of this chamber pop collective’s third release in as many years. What follows, however, is the Welsh septet’s most personal album yet. Tantrums run the gamut: lead singer Gareth Campesinos! (not his given name, obviously) speak-sings behind gritted teeth over hushed xylophone solos; the band’s Greek chorus shouts over brass and string sections that change chords on hairpin turns. As evidenced by the single-ready “These Are Listed Buildings,” Romance still serves up the band’s sticky-sweet hooks, only now with a serrated spoon.—Foster Kamer

Massive Attack, Heligoland (EMI) Seven years after the release of the British duo’s fourth studio album (Daddy G split after 2003’s 100th Window, turning the trio into a pair), Massive Attack is back with their inimitable sound. They’re still tirelessly trip-hopping along, joined, with varying degrees of success, by a revolving door of experimentalists, including TV On The Radio’s Tunde Adebimpe, Hope Sandoval, Elbow’s Guy Garvey, Martina Topley-Bird and Damon Albarn. One of the album’s most wonderfully conflicted moments arrives courtesy of “Rush Minute,” with the lyrics, “I wanna be clean but I gotta get high.” Languorous, calm and dark, it’s like chicken soup for the heroin addict’s soul.—Eiseley Tauginas

The Watson Twins, Talking To You, Talking To Me (Vanguard) On their sophomore album, the Watson sisters inject some throwback (no, really, more throwback) into their sound. Although this 12-track effort fails to outshine their collaboration with Rilo Kiley’s Jenny Lewis, Chandra and Leigh have brightened and deepened their songs, adding some welcome levity to their work. “U-N-Me” successfully fuses ’60s pop with Feist-like harmonious folk. Soulful and syrupy, yes, but Talking To You, Talking To Me leaves us hungry for something with a little more bite. —Alexandra Vickers

Adam Green, Minor Love (Fat Possum) Six folk-rock solo albums into his career—to say nothing of his time spent with the now-disbanded Moldy Peaches—perennial jester Adam Green has recorded his most mature release yet. “What Makes Him Act So Bad?” is a spot-on imitation of ’70s Vegas-rock, while “Bathing Birds” is a whiskey-thick tribute to more serious country crooners. Yet the real genius of Minor Love isn’t the album’s embrace of disparate genres (although that’s impressive, too), it’s how charming and easy Green makes all this variety sound.—C.G.

k-os, Yes! (Last Gang) Two minutes into his fourth studio album, Canadian rapper k-os informs listeners, “I’m not indie rock / I’m West Indies hip-hop.” But k-os might be a touch more indie rock than he cares to admit: “I Wish I Knew Natalie Portman” is an ode to the ultimate object of hipster desire and a take on Phantom Planet’s “California” to boot; Metric’s Emily Haines and the Dears’ Murray Lightburn share vocal duties on “Uptown Girl.” Still, if k-os doesn’t want to be pigeonholed, so be it. When he’s adding urgent piano chords to a sample of Pharcyde’s “Soul Flower (Remix),” on the anthemic album standout “4 3 2 1,” he can be whatever he wants.—B.B.

Christina Aguilera to Dupe Hipsters with Santigold, M.I.A. Collaborations

Previously: Le Tigre! Sia! Goldfrapp! Ladytron! And now Christina Aguilera, like a ventriloquist, has managed to stay tight-lipped while intimating how she’s also collaborated with Santigold and M.I.A.. But specific details about the Best Album Ever otherwise remain cloudy. We don’t even have a release date, although a viral should be forthcoming — it usually is.

Adds Aguilera, “I know I can’t let too much out the bag too soon. I think I’m most proud of this work than I’ve ever been, just because I worked with so many amazing and incredibly talented people.” Despite being spoiled for collaborators, Aguilera singles out Sia, saying, “I think we really created some super crazy magic together.”

But while Aguilera rides the coat-tails of such talent to the highest tier of indie street cred, perhaps a sizable number of us will continue to ape for the good old days. And the rest of us will wait patiently to see how badly Aguilera manages to dupe the Pitchfork set into thinking that there might be any palpable difference between this new album and this Goldfrappish gem featured on her greatest hits collection.

Eyeing Alison Goldfrapp


Alison Goldfrapp is retiring glitter and stepping off the dance floor—at least for now. After 2006’s lusty breakthrough Supernature, the British chanteuse, who records as Goldfrapp with musical partner Will Gregory, was poised to sex-up the electronic music scene. Instead, she explains from a Paris hotel, she discovered acoustic guitars and even a 17th century harp, which decorates the shimmery “Road to Somewhere” on Seventh Tree, the band’s lovely, hazy fourth album. Surprising? Not exactly, for a band that has both mined burbling electronics and icy, cinematic canvases over the course of three disparate albums. This time, “we wanted to do something more intimate—with more warmth,” Goldfrapp explains about the sonic shift. It’s a stylistic departure, sure, but Seventh Tree is as stylized as anything Goldfrapp has recorded.

BLACKBOOK: This is a very sensual record. Do you think about projecting a sexual image when you’re performing?

ALISON GOLDFRAPP: I don’t think about very much while I’m singing apart from going into as much of a zen-like space as I can. But because [the sound] is more intimate—and more obviously personal—the music is more delicate. On that level, it becomes quite sensual because the voice is close to the microphone.

BB: You’ve said images really inspire your songwriting. For this album, you’ve adopted circus imagery. Where did that come from? AG: It came out of one of the songs being called “Clowns.” They’re still a fascination for a lot of artists. [But] it’s more a harlequin image that I used. There’s a certain mystique about a harlequin and the idea they can be very throwaway or trivial but also quite cunning. Playful, but in a melancholic way.


BB: Will you carry out that motif stylistically? AG: I don’t think so. I just get little obsessions with things but usually get bored of them. I’m feeling quite understated at the moment in terms of my appearance. On an everyday basis, I’m quite lazy.

BB: Are you a fashion icon?

AG: No. Other people do [think so], though, apparently. I see people on the street who look like they’re far more interested in fashion than me.

BB: Do you associate your fashion choices with your music? Do they work in tandem?

AG: For me, the imagery and dressing up all come into play when we’re playing live. It’s another expression of the music, rather than being particularly interested in fashion—although, I am interested in fashion.

BB: Is there some look that’s exciting you now?

AG: Long socks—thick wool ones that keep my legs warm. And slippers.