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`Tales Of Us` - Reviews By Us
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I'm in agreement with Tatty in that I've no wish to become one of those sad fuckers who's music tastes solidify after they hit 40 or whatever.... there's loads of interesting new things out there... I'm off to see Willis Earl Beal when he's over this side of the pond, he's a great find - who'd thought I'd hear echoes of Beefheart wow! so I keep an open mind... I just like imagination and people doing new and different things.It's a rare artist(e) who can retain their edge through a career - though Bjork manages it ... I saw her do Biophilia live and fucking hell she was fantastic...I agree with the notion too that Bowie had his moment for me it was all over after the Berlin Trilogy , and let's not forget his brilliant production on Mr Pops Lust for Life ....god bowie was brilliant then he just burnt out and became pretty ordinary ... sure he still puts stuff out but it not got that sparkle has it? ....i'm a great believer in time and place ....and in the 70's he was a real genius ... time will not take that acheivement away either, no matter what he does later. Same for me with Goldfrapp then...Like Tatty said domewhere in this dialogue, I would just like to have been suprised, I don't want or need another FM,It'd just be nice to have that quality of amazement restored!Peronally, and I think I said this back when HF emerged, maybe the innovation has gone and Alison should collaborate with another musician, instead of, or besides Will, just to inject some fresh blood into things.Who's this Stevil tit? I think he's confusing me with someone else? Anyway as HJ says I'm the old duchess around here so ... Stevil you go and wash y'gob out with soap and water and learn some manners!If I'd have wanted to assassinate it'd be easy, I'm not going to do that.Post edited by la_catalina at 2013-09-14 09:31:39
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la_catalina said:
I'm in agreement with Tatty in that I've no wish to become one of those sad fuckers who's music tastes solidify after they hit 40 or whatever.... there's loads of interesting new things out there... I'm off to see Willis Earl Beal when he's over this side of the pond, he's a great find - who'd thought I'd hear echoes of Beefheart wow! so I keep an open mind... I just like imagination and people doing new and different things.
Like Tatty said domewhere in this dialogue, I would just like to have been suprised, I don't want or need another FM,It'd just be nice to have that quality of amazement restored!Peronally, and I think I said this back when HF emerged, maybe the innovation has gone and Alison should collaborate with another musician, instead of, or besides Will, just to inject some fresh blood into things.
Likewise to Tatt , I`m 47 and fell in love with music in July 1978 (boring reason deleted) , punk music made an impression on me and caused my ears to listen outside the box (more than fall in love with punk itself) . My frames of reference are that TOU sounds new to me as I only have a passing reference to John Barry orchestral trademarks and the concept of Scott Walker doesn`t interest me - whereas BC was a boiling cauldron of pieces of all the synth bands and uses of synths I`ve listened to since t` time t` began (or thats how it feels) buts thats just a product of our frames of reference as you note . To concur with the pair of ye , stopping loving new music and drawing a line in time where it stops seems one step from "Hey honey , lets go out and order our matching coffins today , then we can talk about fridges" .Overlapping (and non overlapping) circles of taste , musical reference and experience make the album a different experience to all , while I know what John Barry sounds like , its not a road my tastes will venture down because of this album - more a personal decision than anything else .If I look at the album with a selfish eye/ear , I`d like it remixed/remade with menacing synths and sweeps that only a synth could make , with a differing approach to each track to make them more individualistic but thats just playing "fantasy shag person" and not meant as a negative against TOU . Its an observation (ie not a criticism) I`ve made before , the dance music world reinvents itself enough with innovative new sounds or production techniques so why can`t they , that I am forced by objectivity to concur about TOU isn`t innovative particularly - I still love it , I can`t help my ears (in much the same way that Oasis picked the bones from the Stones/Beatles but I still love them) , I`ll finish with the observation/praise/review in the style of Danny Dyer "Its the best album that John Barry never wrote with some bird singing on it"Post edited by Sartori at 2013-09-14 11:45:56"Read my posts and see why we`re not allowed nice things anymore"
"Brought to you straight from the People`s Republic of There`s Something Wrong With You . The Hoi Polloi Capital of the World" -
Hi Carpy!and hi to everyone else from the halcyon days.....yep can't keep schtum! ha ha ha so far so good!!
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i hope she has a restraining order....fans that stalk to tear down an artist are the most dangerous in my book...carry on with act II of your world tour
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Wow.We all look better in the dark.
http://www.flickr.com/photos/thathurt/sets/
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^^^^ Hahahaha
It is lovely to have Duch back (it has been ages and she is a sweetie :) ) I happen to love TOU and have prattled on endlessly to such effect it is just as important that if she is not keen on it that she can express her opinion....(although it does appear that Annabell hs snuck in and burrowed into her brain hahahaha!!!!)
Whenever I think of her it is with great fondness and a visual of her spinning around like a mad thing on the beach with Supernature blaring in the background :)
Post edited by Cervus at 2013-09-15 02:24:44'' Sometimes I think I've felt everything I'm ever going to feel and from here on out I'm not going to feel anything new, just lesser versions of what I've already felt '' -
Don't look now!If I were dead, could I do this?
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What..................where???????
Post edited by Cervus at 2013-09-15 02:21:15'' Sometimes I think I've felt everything I'm ever going to feel and from here on out I'm not going to feel anything new, just lesser versions of what I've already felt '' -
I would have to say since I have listened to Tales of Us around 50 times that it stands out dramatically from Goldfrapp's previous works. When I first heard it was going to be similar to Felt Mountain and Seventh Tree I was anticipating some sort of amalgamation of the two records. What TOU turned out to be was neither. I feel that it stands as perhaps their most cohesive and emotive record to date, with snippets from their past albums thrown in underneath the layers. The opening song Jo has a synth line in throughout that sounds identical to what was used on Black Cherry's Hairy Trees. The record as whole though is incredibly emotional and evocative. Personal favorites of mine are Jo, Annabel, Drew, Stranger and Laurel. My favorite track off the whole album is Clay. It gives me this sense of unending hope and inspiration. Sonically this album is probably their most gorgeous and intricate work to date. I am absolutely in love with the record and with time I believe this will be known as their BEST album.
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nicholasyund said:
and with time I believe this will be known as their BEST album.
Nope. Felt Mountain will be. Has been for years. S'all anyone bangs on about.They should announce Felt Mountain 2. -
Give Tales of Us some time...it doesn't have to oddity of Felt Mountain which I still adore. Yet it does have this thread that none of their other albums can match:) This is coming from a fan who has loved them for 13 years since they started.
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Kiyuri said:nicholasyund said:
and with time I believe this will be known as their BEST album.
Nope. Felt Mountain will be. Has been for years. S'all anyone bangs on about.They should announce Felt Mountain 2.
nicholasyund said:Give Tales of Us some time...it doesn't have to oddity of Felt Mountain which I still adore. Yet it does have this thread that none of their other albums can match:) This is coming from a fan who has loved them for 13 years since they started.
This.I had a king in a tenement castle, lately he's taken to painting the pastel walls brown. He's taken the curtains down. He's swept with the broom of contempt, and the rooms have an empty ring. He's cleaned with the tears of an actor who fears for the laughter's sting... -
Copied and pasted from the Best to Worst thread! :)01 CLAYProbably one of my favourite ever Goldfrapp songs. I instantly loved it in Manchester and couldn't wait to hear the studio version. I can't really describe what exactly has made this my favourite song on Tales of Us; there are far too many reasons to note. The powerful and emotional vocal; the woeful yet hopeful lyrics; the celebration of something so beautifully tragic. I love the use of irony in her vocal and words, the disdain yet hope for something that never was. My boyfriend found the letter the song was inspired by and printed it out for me. I read it when I got back from buying the album and it brought a tear to our eyes! I love the ending, the crescendo in the strings; a sudden and dramatic finish, almost as if the hopeful door to an unlikely next chapter is being left open in the story. An epic ending to a fantastic album.02 DREWWithin the first bar of this song I instantly feel uplifted. It's not very often we hear or see Alison open up about something possibly quite dear to her but it's clear that this song is about past experiences; enjoyed through happy memories and accompanied by a stunning video to mirror it. The double bass / cello repeated phrases move the piece along eloquently and the timpani at the end add to the grandness of the piece. A complete winner!03 ULLAWhoever mentioned that this is the perfect sequel to 'Drew' has got it spot on. The middle section of the song is beautiful; the 1st violin motif which is then repeated by the 2nd violins and then again by the viola, finally joined by the cello like little waves of overlapping melodies. Joined by Alison's doubled vocal in perfect harmony, the passing note phrases by the cello melt me every time. This mood divides me; making me feel rather sombre yet happy at the same time.04 JOThe only piece in 3/4 time, like a slow and slightly demented waltz. A perfect opener for the album and I remember being stunned to silence when they opened the show with it. Very Satie inspired with the use of ornaments and embellishments on the piano, sailing along. I love the circular patterned melody in the vocals of the verse and the use of pizzicato in the strings add colour to this dark piece. The serenity is captivating.05 LAURELThis would fit right on 'Felt Mountain' and what a welcome return from her lower register that we are rarely treated to. Vocally similar to 'Human' and 'Pilots'; the music is very reminiscent of 'Deer Stop'. Drawn out notes that are flattened halfway through and intentionally weakened; I feel like I'm listening to something recorded over a century ago on a gramophone. I don't remember it at all from the live shows and at the start of the week it was placed really low down in this list but every day it's creeping up. This is a slow burner that seductively engrosses me with every listen. The simplicity of using slight dissonance followed by resolution repeatedly in the chord pattern is naturally aesthetically pleasing on the ears.
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cont..06 ALVARThis one somehow lost me in the lives shows yet manages to hypnotise me on the record. I was convinced it would be the one I'd eventually skip and never warm to but the more I listen the more I hear something new every time. Both simplistic and complex; elements of 'Little Bird' draw me closer the more I listen. The line 'I want to swim your silk black skin to the floor' is one of Alison's finest lyrics. The motion of a piece in 6/8 time is always very captivating as it's a stand out time signature, just like 3/4 time of 'Jo'.07 STRANGERReminiscent of Lovely Head; I remember this fondly from the Manchester shows. Once again, the strings compliment this song, but it's the ghost-like whistling phrases answering Alison's words that make the piece what it is; mysteriously enchanting. The anonymity of the subject really sets it apart from the rest of the album.08 SIMONEHauntingly beautiful. The slurs / glissando in her voice during the verse sound really demonic and emphasise the mood, shock and possible anger behind the story. I love the whisper of 'Simone' at the end. It makes me feel on edge; not knowing where or how the story will end.09 ANNABELThis grabs me a little less then the other 8 songs above but I still love how well the melody and the strings at the end blend together. The vocal in the last section makes this song for me and really leaves me wanting more. It may be 9th place here but I still really enjoy it and feel it'll grow over time.10 THEAThe only track that I don't get much from at this point. At this time I would rather Tales mirror the 9 track entirety of Felt Mountain with the omittance of this song but I suppose I should admire how much of a red herring Thea is (even though Oompa Radar - the Felt stand out track - is another song I don't understand). Maybe I would feel differently hearing this live; I torn as to whether I think it needs a little more production to make it more interesting. it somehow sounds halfway between wanting to be stripped back or being heavily produced and pounding - it's a little lost! I'm bored by the time the chorus kicks in.. I'm hoping it'll grow over time but for the moment, it's definitely weaker than the other 9 songs.
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