Details
frou frou
2002
Imogen Heap has gone on to be an instrumental and revolutionary vocalist in the electronic pop scene, but it’s her effort with Guy Sigsworth– a duo called Frou Frou– that gained a cult following unlike any other.
trip hop/ambient/electro-pop
BY HARPSICHORD
OCTOBER 8, 2023
In 1994, music journalist Andy Pemberton coined the term “trip hop” to describe the earlier work of DJ Shadow and bands like The Chemical Brothers in an edition of Mixmag. Electronic in style, the subgenre had an ambient stuttering that used hip hop breakbeats with the cadences of R&B. The most notable example of the genre’s usage in terms of American pop came in Janet Jackson’s 1997 album, The Velvet Rope, with the third and fourth tracks, “You” and “Got ‘Til It’s Gone.” They were both brooding numbers that played on the way the production looped— songs that actually tripped over themselves. Madonna would bring some of those sounds back– expounding upon her deep house sound from 1992’s Erotica– on tracks such as “Nothing Really Matters.”
Just eight years after trip hop became lingo in the music world, Frou Frou released their first and only studio album to date, Details. The duo consisted of a female vocalist from London named Imogen Heap, and her producer, Guy Sigsworth. They met in 1996, and Sigsworth produced a few songs on Heap’s 1998 debut, I Megaphone. Sigsworth would go on to write and produce for the likes of Björk and Madonna, up until the release of Frou Frou’s album.
To say the least, Details is a journey on a bullet train. It ebbs and flows through emotions– sometimes calming like a drizzle and other times thundering in intensity. From the very start it’s a pleasure for the ear, as the opening track “Let Go” starts with a synthesized flute and violins creeping onto the speaker. Suddenly there is a harsh crescendo, as Imogen Heap sings “Drink up baby doll, are you in or are you out?” Her voice is that of angels– the violins increasing. Suddenly the breakbeat kicks in, suggesting that the remainder of the album will be full of high energy.
Details tackles anxiety the best any album could. The opening track is telling someone to “Let Go” of their worries and troubles. Imogen Heap is ASMR personified in vocals. Fittingly enough, they jump into “Breathe In”– the type of track one would hear on an ABC primetime drama as the main character confesses to their unknown love interest of ten seasons, “cause I love you.” What advances the song are ending adlibs, the “duh-da-duh-da-ayy” kind, as if it was always clear from the jump. Zach Braff would go on to use “Let Go” in the Grammy Award winning soundtrack of his 2004 film, Garden State.
The sonic expression of Details mimics that of a heartbeat. The kind that comes when a confession is to be made. “I read you,” claims Heap on “Breathe In,” before boastfully saying “and God, I’m good at it, I’m so spot on!” Fueled by electric guitars and an attitude of mom-mall-rock-wit akin to Alanis Morissette and Liz Phair, “Breathe In,” exudes a balance of femininity clashing against masculinity. There are moments of “lite office music,” as evident in the follow up track “It’s Good To Be In Love,” which starts out quietly before increasing in its own intensity. Then the track cycles back to its somberness by the end. The same could be said for “Only Got One,” as the middle portion into the end roars with a drum solo that finds Imogen Heap melodically shouting since she can’t take anymore.
While Details could be read as that for cliche moms who like for their music to be safe (or better yet, the stereotypical archetype who enjoys the music of shows like Dawson’s Creek in the ‘90s), it’s far from that. Thriller and horror lies in “Psychobabble” creating a distortment of confusion, a stifled bell adding to the haunt present on the track. As the music gets darker, Imogen Heap also follows suit, and somehow manages to still sound brighter and brighter as each track goes by. She understands her worth by “Maddening Shroud,” as she sings “I got the right mind to throw it all away.” It’s the song where she best ad libs, a “yeah ee yeah” flexing her vocal prowess– distinctly drawing her apart from the Björk’s of her time.
And to say the least, Details is fun. SIMPLY PUT: THE details OF DETAILS ARE FUN.
The high energy that paces throughout the hour-long listen shines the most during “Must Be Dreaming.” Intentional in how they soundscape the LP, that song starts quietly before increasing in volume. There’s a dramatic climax already happening by that fourth track– like speed (or rather molly) at a nightclub, and somehow it’s sustained. “Shh” and “Flicks” best represents that momentum. The former track has a trip hop break in the middle after Imogen Heap declares “I feel good all over,” and suddenly there is urgency in the BPM, as she resorts back to her signature adlibs. “Flicks” gives that but with a Bollywood sensibility– a “lung of love” that Imogen whispers about “leav[ing] me breathless.” Sigswroth had produced the song in Mumbai, India, using his Yamaha QY20 pocket sequencer. It would become the first record they collaborated on together as Frou Frou.
Out of all the tracks, “Hear Me Out” sounds the most British, as it takes a page from Oasis and foreshadows what Coldplay would do on songs like “Clocks” and “Speed of Sound.” “I Join the queue on your answer phone,” must be proper Cockney. Or better yet, it’s the opening verse to another song layered in storytelling. “So listen up, this sun hasn't set,” sings Imogen Heap in denial as the keyboard pushes forward. “I refuse to believe that it's only me feeling,” she continues with much wit, as if she’s ahead of her antagonist and the mind games he plays. The song samples British ambient musician, Brian Eno’s “An Ending (Ascent)” from 1983.
Even when the record is shrouded with spacey, electronic music, there are still the elements of neo soul and jazz taking place– cycling back around to its overall sound of trip hop. “The Dumbing Down of Love” is enhanced by trombones, trumpets, and oboes. While “Old Piano” utilizes just that, with Imogen Heap smugly going “oh well…” as if she’s too [allegedly] stoned to say much more.
Details represents the versatility of both the lead singer and the producer masterminds. Sounds pop up at certain times, and disappear just to reappear, like the cycle of love. It’s one of those records where the lovers are so crafty, prescient, and insightful, that they have no choice but to bullshit around until it gets boring, and then they have to respark the chase, knowing they’re never going to leave in the first place.
Since the release of Details, Imogen Heap has gone on to be an influential figure in music. She received a Grammy nomination for Best New Artist for her album, Speak For Yourself . Many cloud rap artists, such as Clams Casino have sampled her work during the Soundcloud era. Ariana Grande has sampled “Goodnight and Go” from Speak For Yourself for her 2018 album, Sweetener. She collaborated with Taylor Swift on 1989’s “Clean.” Acts such as Dawn Richard and Chloe Bailey have cited her as a musical inspiration. As for Sigsworth, his most notable work aside from Madonna, has been with Britney Spears for her 2008 album, Circus. For the 20th anniversary, the duo reunited for a tour, a re-release of Details, and Off Cuts, an EP featuring unreleased demos.
“Let Go” for being a stellar opening track that sets the mood for the entire album.
“Shh” for its intense instrumental break that is enhanced by Imogen Heap’s dramatic adlibs.
“Hear Me Out” for being quintessential British pop that tells a great story.
Key Tracks
Simply perfect from start to finish. Imogen Heap and Guy Sigsworth truly paid attention to Details, and have influenced a generation of great pop music after them.