Goldfrapp

For better or for worse (unfortunately, more of the latter), Seventh Tree takes Goldfrapp off the dance floor and into an alt-hippy headspace. The fourth collaboration between Allison Goldfrapp and Will Gregory opens with such a listless calm, it practically dooms the rest of the album to premature gloom, the minimalist aesthetic of opening track "Clowns" meandering as if in a barefoot stupor through an opium field. "Little Bird" barely picks up the pace, but does so enough to paint a Bjork-like soundscape amidst a willowing overture and beckoning strings. Things come together in "Happiness" and "A&E," the bouncing and bubbly atmospheres offering the perfect accompaniment to warm and inviting vocals, but the muted tones return on "Road To Somewhere" and "Eat Yourself." "Cologne Cerronne Houdini" treads close to the bittersweet trance of Massive Attack, and "Caravan Girl" provides a buoyant blast at the backend of the album, but neither can salvage "Seventh Tree," which ultimately proves to get bogged down in its own headiness. There's worse background music out there, but Goldfrapp deserves better than that. Unfortunately, Seventh Tree does not.

—Paul Gargano
03.27.08

After spending years on the dancefloor with Black Cherry and Supernature, Goldfrapp takes a breather with The Seventh Tree. Allison Goldfrapp and Will Gregory slow down the beats and break out the acoustic guitars on a set of songs that suggest chilling out in a field during a hazy, watercolor summer; this is music for after the party, not after-parties. "Clowns" opens the album with finger-picked acoustic guitar, birdsongs, and Allison's nearly wordless vocalizing, making a statement that's bold because it's so gentle -- the effect is like stepping out into a sunny morning after spending all night in a club. At first, it's a shock, and then it feels great. Avoiding the glammy dance-pop of the duo's previous two albums is a bit of a risk, since Goldfrapp could probably make endless variations on "Ooh La La" and still have plenty of fans. However, The Seventh Tree isn't so much a radical change for Goldfrapp as it is a shift in focus; even if it doesn't sound glam, it sounds glamorous. Sonic luxury has been the only constant in the duo's sound, from Felt Mountain's darkly lavish soundscapes to Black Cherry and Supernature's decadent dance hits, and there's plenty of it here, too. This is not Goldfrapp Unplugged, although acoustic guitars and strings waft in and out of the album effortlessly -- if anything, The Seventh Tree's electro hippie-chic is the duo's most polished and luxe work yet. "Little Bird"'s psychedelic trip-hop builds to a majesty that recalls "Strawberry Fields Forever," buoyed by layer upon layer of guitar, vocals, sparkling synths, and a massive, rolling bassline. "Caravan Girl" is some of Goldfrapp's finest escapist pop, capturing the irresistible appeal of running away with big hooks and an even bigger Wall of Sounds backing them up. Allison uses her voice more beautifully and expressively than she has since Felt Mountain, especially on "Eat Yourself" and the Air-esque "Cologne Cerrone Houdini," where her upper register shines. Goldfrapp expands their emotional palette as well as their musical one on The Seventh Tree, digging deeper into the vulnerable territory they explored with Supernature's "Number One." On "Monster Love" and "A&E," where Allison confesses "think I want you still, but it may be pills at work," the duo pulls off the confessional, folktronic singer/songwriter style with more flair than their peers. "Happiness," on the other hand, offers some surprisingly cheeky irony, pondering how to find "real love" (answer: "donate all your money") while coming across like a cheery cult anthem about trading your worldly possessions for colorful robes. With all the sounds and feelings The Seventh Tree explores, it's clear that Goldfrapp doesn't miss the style the pair perfected on their last two albums, nor should they -- this is some of their most varied, balanced, and satisfying work. ~ Heather Phares, All Music Guide