Tales of Us - Goldfrapp
User Score

Universal acclaim- based on 39 Ratings

User score distribution:
  1. Positive: 35 out of 39
  2. Negative: 3 out of 39

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  1. Sep 10, 2013
    Wonderful work by the duo. Another dramatic turn of sound, taking them away from the 80's synthpop of Head First to this new sounds. Some say it is like a fusion of Felt Mountain and Seventh Tree, but I am not comfortable with that comparison. The song's are not as disjointed as Felt Mountain, nor as lush as Seventh Tree. They are menacingly sung haunting listens filled with character, haunting and beautiful. Collapse
  2. Jun 3, 2014
    this is by far the most beautiful piece of music i've ever heard.
    breathtaking from the first time, evolving and maturing from spin to spin.
    this album is, ladies and gentlemen, as fine as music can get.
  3. Sep 10, 2013
    The formula for the new Goldfrapp Album is the following: FELT MOUNTAIN and SEVENTH TREE had a child who is a fan of Coldplay's PARACHUTES, and while the womb, Orchestral Music was playing. The Results are simply Magnificent. After their 80 's influenced HEADS FIRST, it is good to hear the duo has returned to what they do best: Hypnotic Electronic Ambient Music.
  4. Oct 10, 2013
    Goldfrapp's latest album is a flash back to the past. Gone are the catchy, dance-infused choruses of old classics such as "Ooh La La", "Strict Machine" and "Rocket, the stripped-down, simplistic feel of the songs being reminiscent of their debut album Felt Mountain; and in my opinion, it's the best album they've released since then.
    'Jo' starts the album off well, with it's pleasantly
    repetitive refrains sticking in the mind long after listening. 'Annabel,' like most of the tracks presented here, is infused throughout by a haunting sense of melancholy and sadness. Then there's 'Drew'. Radio stations seem to think of 'Drew' as the first single from the album, but I'm not so sure it is there's been no separate release other than the music video which was put on the internet. Still, it's one of the most striking songs on the album, classic Goldfrapp and just a little bit brilliant. 'Ulla' and 'Alvar' then follow, both nice enough songs in their own right but neither stand out enough at me that I can yet tell them apart. Track 6, 'Thea', is one of my favourites on the album, the only one with an audible beat and synth, a hark back to their previous album. I imagine that had they had more time on 'Head First', as they have openly admitted they needed, we would have had more songs like this. 'Simone' is next, which again is a nice enough song but it just feels a little bit too much like more of the same. 'Stranger' (the only song on the album which isn't a name) is proper, Felt Mountain era Goldfrapp. It's a great song. There's even some whistling. What more could you want? Then follows 'Laurel' which, like many of the other songs, has a haunting melody, and shows that Alison is still at her peak vocally remarkably for a woman of 47.
    The album ends with 'Clay', a song so incredibly moving that it doesn't just make up for the sameyness of some of the other songs, it positively negates it. Astonishingly beautiful, particularly when you learn what the inspiration for the song was. I am being honest here when I say that this is possibly the best song ever to come from Alison and Will.
    As a whole, whilst the album may at first to some appear to be a collection of similar sounding tunes, each one holds its own, and I can imagine that each will be the favourite of someone out there; which is something I have never said about a Goldfrapp album in the past. Unlike their previous releases, there's no weak link here perhaps it's just that some of the songs seem less impressive because of the incredible passion and heart of the ones surrounding them.
    Despite this, it's their best album since Felt Mountain, and possibly even their best ever. A minor masterpiece.
  5. Sep 14, 2013
    Ever since their 2000 debut album Felt Mountain fans have been yearning for a return to the creepy, melancholic sound that it presented. Not to say any of the albums that followed were a disappointment. Time and time again Goldfrapp prove their artistic merit and relevance through experimentation, reinvention, versatility, and overall quality music making. Whether it’s the dark and gloomy trip hop and electronic cabaret of Felt Mountain, the electro glam of Black Cherry, the dance floor romp Supernature, the folktronic and ocassionally psychedelic Seventh Tree, or the shimmery 80’s synthpop of Headfirst. This album is easily the closest thing to Felt Mountain, but is never just a rehash of old ideas. Tales of Us successfully marries the chilly strings and overall tone of Felt Mountain with the plucked acoustic guitars of Seventh Tree. While borrowing these sounds from those previous efforts, Tales of Us undeniably stands apart and on its own feet.
    The album uniquely provides character sketches of 10 individuals starting darkly with “Jo”. Circling vocals of “Run, you better run” swirl overtop a paired piano and bass subtly rocking back and forth. “Annabel” which is happily reminiscent of Felt Mountain’s “Deer Stop” starts with a plucked acoustic guitar, but unlike Seventh Tree the acoustic instruments don’t add warmth, and in fact the cold lullaby of “Annabel” builds by the end as the stings grow dark and loud. “Drew” also begins with cascading plucky Guitar strings, but sounds brighter and warmer than it’s predecessor. Occasionally being interrupted by booms from a cello and an undercurrent of lush strings that build as the song progresses. “Ulla” and “Alvar” sound more like Seventh Tree. The former taking cues from the more ambient middle of Seventh Tree (“Road to Somewhere”, “Some People”), and “Alvar” with light droning and skittish electric guitars is more reminiscent of Seventh Tree’s slight psychedelia (“Little Bird”, “Cologne Cerrone Houdini”). On “Thea” scattered frantic strings pop in and out of crunching footsteps, and eventually pulsating drum and bass, and a smashing snare. This is the danciest the album gets, providing the perfect synthesis of the dark forest aesthetic of the album with the bright dance floor lights of their past music. “Simone” is a dark lamenting song that drifts through a haunting atmospheric melody and builds with some slight percussion and strings. Amazingly mysterious and beautiful, the film noir “Stanger” sounds like the beautiful child of Felt Mountain’s “Lovely Head” and “Pilots” complete with a lonesome whistling refrain and cinematic strings. “Laurel” mixes the melancholic harpsichord and dark strings of Felt Mountain with the contemplative piano of mid section Seventh Tree beautifully, with brooding, lamenting vocals. “Clay” ends the album on a hopeful more uplifting note. Soaring vocals rise over fast, bright, fluttering strings with a slight synth undercurrent.
    This album is definitely harkens back to the sound of Felt Mountain, but stands separately as its own body of work worthy of being recognized for its own accomplishments. Despite their changes in style there’s always something about their music that always feels Goldfrapp. Their evocative lyrics, and the cinematic quality of their music, are forever present on all their albums to date. This album is a masterpiece, and anyone interested in beautifully crafted, lush, and eerie music should definitely pick up this album
  6. Sep 21, 2013
    Goldfrapp return with their most breathtaking and mature album to date. You won't be disappointed by these inspiring and haunting songs. Having transformed once again into an entirely new beast, Goldfrapp dominate our senses with luscious melodies and sweeping strings. "Jo", "Thea" and "Clay" are the highlights of a very strong album which will surely be shortlisted for the Mercury Prize come next year. Expand
  7. Jun 29, 2014
    I have been waiting for the next Goldfrapp album what seems like forever and I am certainly not disappointed, in fact, that would be a huge understatement. This is a highly polished mix of Felt Mountain and Supernature and it seems the two have met in perfect harmony to create Tales of Us. Alison's vocals are haunting, yet as sweet and soft as honey, mixed with the relaxing sensuous melodies throughout this will leave you feeling like you have entered a parallel universe after falling down a musical rabbit hole. Intoxicating, Indulgent and magical, Goldfrapp have captured their very essence so perfectly here - This is an album to treasure. Expand
  8. Jun 16, 2014
    Not the strongest Goldfrapp album, but still wonderfully composed and created. Though each song on the album is themed around a different person they suffer from not having enough character or individuality.
  9. Sep 24, 2013
    I think this album is pretty unremarkable. As subtle as the sound is, I think it's pretty forgettable- as such I describe it as 'A Dream You're Likely to Forget' in my blog review.

    Have a read (it's short), any feedback is welcome. Thanks

  10. Sep 19, 2013
    This seems to be the exact opposite of 'Head First'. That is, a morose collections of vaguely pretty tracks that sound as if they're all rejects for the next Bond movie. I much prefer her when she's all soaring synthesizers. Only highlight on the whole album was 'Thea', and even that was dull. Come on Goldfrapp. Life's not that bad!
  11. Sep 26, 2013
    This record made me want to kill myself. It is SO BORING. Goldfrapp can do so much better than this. Can only imagine how bad the film is gonna be. Yuck.

Generally favorable reviews - based on 26 Critics

Critic score distribution:
  1. Positive: 21 out of 26
  2. Negative: 0 out of 26
  1. Jan 27, 2014
    This restless duo have never sounded so much like themselves, and the result is spellbinding. [Oct 2013, p.107]
  2. Sep 30, 2013
    Although some of the arrangements and electronic embellishments are lavish, there are few obvious peaks and troughs apart from the epic throb of ‘Thea’.
  3. Sep 19, 2013
    Musically, it's their most ambitious release, with full orchestras and mysterious meditations of reality and fantasy. [No. 102, p.56]