“I think writing an album is like being lost in a wood,” says Will Gregory. “You’re trying to figure out an interesting path. You don’t know whether it’s going to be a dead end or somewhere interesting and you never know when to stop because around the corner some beautiful vista might open up.” Since Gregory and Alison Goldfrapp synthesised as a group back in 2000 with their first album Felt Mountain, the pair have enjoyed a long and fulfilling journey of success in both pop and indie genres. As a duo, their sound has most definitely wandered into many corners of that musical ‘forest’. Album’s Tales of Us and 2008’s Seventh Tree encounter introspective soundscapes that really bridge the gap between synth laden pop and indie riffs, while 2010’s Headfirst saw the band striving desperately for mainstream milestones.

Silver Eye, however, has added another notch to the bedpost in Goldfrapp’s catalogue of exploration. A contemplative and psychedelic journey, the album as a whole removes that sun-encumbered optimism that was seen on previous releases and replaces it with a dark claustrophobia that only portrays this release as ultimately more mature. Throughout the release there are underlying themes of darkness, love and deranged debauchery, but they are presented lyrically in a far more straightforward manner than what is expected of Goldfrapp. ‘Anymore’, the first track off the album, climaxes with a chorus of Goldfrapp’s vocals: “I can’t wait, I can’t wait, I can’t wait anymore.” While Goldfrapp’s vocals are consistently strong and not to be reckoned with, it is hard not to be left feeling a little let down by the lack of imagination in this lyrical attempt. With so much attention focused onto the shift in genre, and the band’s reputation for metaphorical feats in their lyricism, it is hard to understand why this sector is lacking on Silver Eye.

‘Anytime’ and ‘Ocean’ sit at the beginning and the end of the album and fully demonstrate Goldfrapp’s ability to dip in and out of a vast library of musicianship, a talent that only further displays their talent as a duo. Both tracks are invigoratingly industrious, drawing in themes from gothic basslines and sleazy synth. As stand-alone tracks, they are incredibly strong and bring the album as an art piece full circle, however, similarly they strikingly contrast the rest of the album.

Throughout the bulk of the album, Silver Eye takes an alternative electro-disco-pop route. ‘Tigerman’ and ‘Zodiac Black’ utilise the lo-fi bass synths that have re-emerged in throwback cinematic soundtracks akin to Twin Peaks. These tracks embody an ethereal throw-away longing that reflects the 80s nu-wave style of mixing sorrowful lyrics with dancey synth. In this way it appears as though Goldfrapp have resurrected themes made popular with artists such as Madonna in a slightly darker, more indie sense, with the addition of modern production. The result is a fresh take on the dark side of 80s disco and it works, not only as a genre but especially alongside Goldfrapp’s deep and haunting vocals. The duo push the boundaries further on ‘Faux Suede Drifter’ and the result is a warped and wild plunge into depressive club classics.

Goldfrapp fans have waited almost four years for Silver Eye and in true Goldfrapp fashion the band have delivered something predictably them but at the same time endlessly new with this new album. It is intriguingly refreshing to see them dropping the mission to reach for chart topping hits and instead journey into something darker, possibly even more spiritual, with this release.

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