Alison Goldfrapp has a pretty good idea what the future holds for her, that being admirable considering that she’s in a business famous for its unpredictability.

“I’m feeling more philosophical about life right now,” the singer says, by phone from London, England. “I’m really enjoying where I’m living. I’m really enjoying taking photographs. And I’m really loving playing live right now. I like to constantly challenge myself and try out new things, and as I get older I realize how important that is, and how wonderful it is that I can do that. I mean, God almighty, to still be here and doing that is bloody amazing, and I appreciate it more and more. I’m probably going to be bonking mad in about less than 10 years, so I’ve got to make the most of the time that I’ve got left.”

Goldfrapp does exactly that on Silver Eye, the seventh and latest album by the recording project that bears her last name. The album has been called a return to the electrolush form of early outings like the Mercury Prize–nominated Felt Mountain (2000) and Black Cherry (2003). There’s some truth to that, with the synths back at the forefront of a band that’s made notable diversions into gothic cabaret pop and folktronica. But at the same time, Silver Eye finds Goldfrapp—which includes Goldfrapp’s collaborator-programmer Will Gregory—sounding unusually dark and claustrophobic. Working with producers including John Congleton (St. Vincent) and the Haxan Cloak (Björk), they’ve gone an unusually minimalist and menacing route. Consider “Zodiac Black”, with its disembodied vocals and cavern-drip percussion. Or “Faux Suede Drifter”, which sets ’70s ear-candy vocals to what sounds like the soundtrack to John Carpenter’s nightmares.

While the songs are dark, that doesn’t mean that the two members of Goldfrapp weren’t having fun. Goldfrapp herself says that reviews that have suggested otherwise aren’t exactly on base.

“Someone is always disappointed,” she says with an exasperated laugh. “I mean, Jesus Christ. But it doesn’t bother us in the slightest. You can’t be everything to everyone all the time. I do know that I’m in a good place—probably a better place than I have been in a while.”

If all this sounds like the musings of someone who’s been doing some serious introspecting, that’s not by accident. Goldfrapp says that those who’ve been following the band through its various stylistic phases will notice threads connecting to past releases, her fascination with nature and its endless mysteries being a big one. And, on a more personal level, it’s a genuine thrill that she’s still not only making music with Goldfrapp, but doing so at the quality level that first got England and the rest of the world buzzing 17 years ago.

“I don’t really know how to elaborate on where I’m at, except to say that maybe it’s about being a bit older,” she says. “And that I’m really enjoying playing live at the moment. I’m also fitter than I have been in a long time. There are all these elements that have me feeling good about life, even though shit things have, and will always, happen.”

Goldfrapp plays the Vogue on Friday (September 22).