Goldfrapp Head First Mute
On its last album, 2008’s “Seventh Tree,” Goldfrapp took listeners on a stylistic detour infusing electro-pop with a heavy dose of psychedelic early-1970s soft rock. Listeners were thrown for a second, but ended up loving it.
It’s no big surprise that, for the latest album, “Head First,” Goldfrapp leapt into the 1980s for a pleasantly synth-heavy sound. And we love it even more.
The group sounds perfectly at home on new-wave leaning tracks like “Rocket,” “Dreaming” and “I Wanna Life,” the latter two being prime candidates for pop radio or the dance floor. “Believer” is a pleasant synth-pop ditty harkening back to early Devo and Depeche Mode.
As always, out singer Alison Goldfrapp keeps things interesting. She gives the cold Teutonic groove of “Shiny and Warm” a seductive swagger. Her breathy vocals are in full bloom on the more-hypnotizing standout tracks like “Hunt” and “Voicething.”
We’re convinced now that we’d follow Goldfrapp in whatever sonic direction it chooses.
Little Boots Hands Elektra
This U.K. pop singer’s first proper full-length album gathers everything we like in a pop formula: big, uncomplicated beats; booty-shaking rhythms; a sexy voice and (most importantly) a decent and distinctly British sense of song craft.
For the most part, it works.
Like we said, the elements are there, but sometimes Little Boots’ sound gets lost in the pop shuffle: There doesn’t seem to be enough of a signature sound or an over-the-top persona to make her stand out from the pack.
Otherwise, she’s a solid artist.
Overall, Little Boots wins us over on the tracks where she’s not trying too hard to win our favor. The more-restrained tracks (mid-tempo “New In Town” and the poppy “Earthquake”) are far superior to the more-frantic dance-oriented tracks like “Meddle” and “Remedy.” Sultry and laid-back tracks like “Hearts Collide” and “Symmetry” work even better, the latter thanks in part to guest vocals by Philip Oakley.
Time will tell if, one of these days, Little Boots is going to walk all over you.
Ratt Infestation Loud & Proud
Finally, an ’80s hair band that gets it!
Most of the hit bands that paraded around in drag-queen-grade makeup and hairspray back in the ’80s that are still around usually bore the hell out of their remaining faithful because they insist on trying to keep up with what’s going on in popular music. (And some of them can sing — or play — the way they used to back in the day.)
This is why, every once in a while, you have to suffer through the pathetic sight of bands such as Bon Jovi and Def Leppard artistically cavorting with country artists, or Poison trying to co-op garage-punk sensibilities and appearing on reality TV shows.
Fortunately, that’s not the case with Ratt.
This former Spandex posse has figured out that fans actually want to hear it sound like it did in its hedonistic heyday. The production values on “Infestation” are spot-on, transporting listeners back to Southern California circa 1988. The overall sound is confident and boisterous. The guitars are technical, crunchy and slick. The choruses are big and catchy.
“Best of Me” sounds just as good and polished as any of Ratt’s big hits. Both “Lost Weekend” and “Take Me Home” are classic-sounding rock anthems. “As Good As It Gets” borrows too much from AC/DC not to be coincidence but, given the alternatives, we aren’t mad. Ratt also gets kudos for not putting a cheesy power ballad on its new record.
Larry Nichols can be reached at [email protected].