From the first serene notes of Goldfrapp’s new album, Seventh Tree, it’s pretty clear you won’t hear the vocalist moan about her knicker lace or getting high on the “buzz.” Ms Allison Goldfrapp and partner-in-musical-crime, Will Gregory, have pretty much patented their heavily recognized sound by now; a combination of glam rock, electronic disco and sexual poetry, and basked in the glory of dance floors on both sides of the Atlantic.
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Goldfrapp |  Entertainment
 Art
" Seventh Tree "
(Mute)
Released February 26, 2008
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Seventh Tree opens not with a rough synthesized beat, nor does it at any point grow into a familiar electronic firestorm. In an effort not to overplay their distinctive brand of pop, Goldfrapp have switched now to a sound that’s like a wake up call from a night of disco and debauchery. The result is not exactly folk, but it’s also far far away from the saturated electronica they do so well and it ultimately falls a little short of our expectations.
The opener “Clowns,” starts with an acoustic guitar, followed by a backdrop of lush strings, with Allison’s voice strangely muffled, meaning to soothe where is used to entice. The track is exquisite in creating a certain ethereal atmosphere. It’s a surprising but emotionally sweeping acoustic ballad that despite its undistinguishable vocal line, manages to impress musically. “Little Bird” tries to follow but trips on lengthy ambiance, with long and mildly engaging sections of a breathy chorus’ and a psychedelic finish. By now you get the idea though, and the rest of the record plays with the “look, we’re not doing disco” concept to various success.
Goldfrapp has tapped into chill-out before. Both 2003’s Black Cherry and 2005’s follow-up Supernature had quieter moments that successfully explored the softer side of the digital switchboard. Heck, their entire first album Felt Mountain was a fascinating cinematic long play of moody subversively aggressive ballads. But Seventh Tree is not trying to go back to that, nor does it fall into artsy chill-out territory by default. It’s a very pretty record, for a lack of a better word, and it’s quite atmospheric. The artist has set the standard high though, and by those means, Seventh Tree just can’t help but feel safe, and at times even lazy.
First single “A&E” is saved by using its mere three minutes to the fullest. The track starts off with a tacky piano and simple beat but gains wonderful depth in the second verse with pulsating arrangement, only to explode in the last minute with a sudden switch of drums and amplified energy. Bonus points also for lyrics that steer a platonic love story towards pill overdose. I liked “Eat Yourself” also for its use of back noise and curiously tiptoeing pacing, but Allison’s voice, distorted again at once enhances and alienates our reception of the song.
“Road to Somewhere” though could not have any less edge if it was sang by Natalie Imbruglia. “Happiness” and “Caravan Girl” are fun and thankfully upbeat, but wouldn’t it be fantastic if they were laced with some goddamn loops. “Cologne Cerrone Houdini” surprises with dramatic strings for a change but quickly becomes yet another exercise in bluesy airiness. Allison does a lot of colorful ooh-ing and high notes and for once her voice does not get lost in the overwhelming electronic production. On the other hand most of the songs here lack a certain trademark Goldfrapp punch. They seem simply too conventional for artists who would incorporate burlesque and visual animal motives in their sweaty live shows.
In a way, Goldfrapp has crafted a perfect album for the season. With trickling guitars, sweeping strings, and breathy vocals, Seventh Tree is like Antonio Vivaldi’s sonic interpretation of spring, only for the digitalized era. It’s a soundtrack for thawing urban icebergs uncovering impatient landscapes of awakened life and lyricism… And it’s lovely and all. But chances are, by summer solstice you’ll want your high priests of musical S&M back.
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