DEREK SEDAM
Staff Writer
With the first pluck of an acoustic guitar on the opening track “Clowns,” British electronic duo Goldfrapp have already entered new territory on its new album “Seventh Tree.” From the surreal ambience of their debut “Felt Mountain” to the sexed-up disco-rave that was “Black Cherry” and “Supernature,” singer Allison Goldfrapp and keyboardist-programmer Will Gregory stuck to the digital manipulations that their synthesizers and drum kits have provided over three successful albums overseas.
Much like Radiohead did with “In Rainbows” last year, Goldfrapp has taken the minimalist approach in adding to their sound, returning to their space-folk roots while touching up their electronic-heavy influence of their middle albums. It makes for a much slower-paced album, but “Seventh Tree” is ultimately a rewarding experience full of lush landscapes chilled out with Goldfrapp’s haunting vocals.
Turning away from the dance floor requires quite the change of pace, but who could blame the band? Sometimes you need to have some Sunday afternoon “get your life back together” music after a night on the town.
If you’re a fan, songs like “Clowns,” “A&E” and “Monster Love” might drive you away with boredom. But beneath the first listen lies an accomplished album that is more psychedelic-folk than dance-floor-ready tunes of the past. It pulls you in and makes you pay attention thanks in large part to the vocals of Allison Goldfrapp.
“Clowns” opens the album with guitar and vibrant strings, backed by Goldfrapp’s soothing tone and incomprehensible lyrics. The words don’t matter in this song – the band just wants you to focus on the music. Chirping birds in the background somehow come into play to bring us to a warm spring day in the forest.
“Little Bird” starts out as a children’s fairytale-nightmare before shifting into a menacing bass line with jammed-out drums to make it part wonderland, part “Strawberry Fields Forever.”
“Happiness” recalls the disco-electronic era of the band, wired glitches and beeps all abound as Goldfrapp chants for everyone to join the cause, “Join our group and you will find; harmony and peace of mind; make you better.”
The middle part of the album drones off into dreary, escapism folk that is a challenge to listen to, but then the great “A&E” picks up the slack. The song accompanies warm, bouncy synths and acoustic instrumentation to capture the frustrations of modern day love, “I think I want you still; but there may be pills at work,” Allison owns up to (paging Grey’s Anatomy).
“Cologne Cerrone Houdini” and “Caravan Girl” bring back the bright pop sensibility in full force that would make both Elton John and Kelly Clarkson proud for their ability to bring the disco and the up-tempo rock.
“Monster Love” is a perfect closing track, as it accompanies everything the band was striving for. Allison’s voice is the main instrument on the track that fades out with her repeating, “Everything comes around; bringing us back again; here is when we start; and where we end.”
There’s no denying that, the melodies that Gregory and Goldfrapp produce are some of the finest this year. Their willingness to experiment with their unique sound offers a complex and challenging listen.
The duo takes the acoustics out of the basement and hits it big with great pop anthems featuring lush orchestral arraignments and synth backgrounds that sound as if they are trying to bring the computer out to the hippie picnic. And that’s not necessarily a bad thing.
03-20-2008