goldfrapp - seventh tree review

I fell in love on Felt Mountain.

That’s right; not just ‘with’ Felt Mountain, but on it. It came into my life shortly before the halcyon days of a life affirming, powerfully romantic, insanely intimate relationship that redefined how I could feel about a girl. Many sun drenched afternoons were spent driving through the tree draped forests of suburban Atlanta soaking up the delicate beauty of Utopia, Pilots.. and the rest. Every sublime drop of that album savored again and again. We were positively drunk on it, and each other. It defined a glorious time in my life, and therefore set pretty high standards for Goldfrapp’s future releases.

Though I’ve been turned on to no end by the synthesized sex that oozed from both Black Cherry and Supernature, I’m delighted to see Alison and Will return to their Felt Mountain roots with Seventh Tree; an album glittering with the same soothing, sensual soul as their amazing debut.

Seventh Tree begins with “Clowns”. The almost unintelligible bird song of Alison’s voice wavering above carefully plucked acoustic guitar, setting a tone for the album to come. Several more lovely tracks follow in its wake, from the lyrical fairytale painted against sweeping strings and subtle electronics of “Little Bird”; to the more subdued, yet accessibile “Road to Somewhere”. Easily my pick for best song on the album (with some stiff competition; I’m looking at you A&E and Monster Love), RTS is a lament for a love lost. Touching, hopeful and with vocals so smooth and comforting they bely the painful nature of the lyrics, Road to Somewhere stands amongst Goldfrapp’s most gorgeous pieces yet:

3′o clock I’m on my way
On the road to somewhere
Little clouds like wounds

That blow away
Listening to the radio like a
Friend that guides me
Playing out every song
We used to know

Dream, dream you’re not
Too late
Sweet road to somewhere else”

The album seems to linger near themes of reconsidering relationships long gone, but veers off course to touch on other topics too.

Perhaps the best example is Happiness; a hilarious rant against.. religion? cults? Scientology? Oh I hope I hope it’s the latter. The breathy refrain of the lyrics fit so perfectly;

Join our group and you will find
Harmony and peace of mind
Make it better
We’re here to welcome you”

and then later;

We can see your trouble soon
Give us all your money
We’ll make it better (Make it better)
we’re here to welcome you”

Take that, Operating Thetans!

Another departure is the positively uplifting, retro-tastic 60’s beach party soundtrack of “Caravan Girl”. I picture girls in neon go-go dresses and white knee high boots doing choreographed dances to this. I could easily see this as the second single.

Speaking of; “A&E” the first single, with it’s gently building crescendo and slowly rollicking beat simmers. Like the peek a boo sun of summer crawling through the blinds of a gray afternoon, Alison’s voice soars to the pristine peaks of her range, while never overstepping her bounds.

It also features a favorite lyric that never ceases to bring a smile to my face:

Think I want you still
But there may be pills at work

Side note: this song is being remixed all over the place and all I can say is, the first time I hear the Gui Boratto remix at the club I will fucking explode. Do you hear me DJ’s? I will explode! And likely, rainbows and shooting stars will pour out.

There are a few missteps along the way; “Some People” seems almost too dramatic for its own good, and is so slow as to almost disappear into the ether. The lyrics here seem forgettable as well. On the other hand, “Eat Yourself” suffers only from the slightly morose music which seems out of place with some of Alison’s most beautiful words ever;

Who will I be when I’m with you again
Silver jet in the sky
You are the pain
Got a song, got to sing
For life”

Everyone should be so lucky.

“Cologne Cerrone Houdini” starts out with bass line similar to Nick Cave’s “Far From Me”, and is perhaps the most “Felt Mountain” inspired of the disc.

Finally; “Monster Love”. The closing sentiment of Seventh Tree once again finds Alison questioning a return to an important relationship long since lost. Almost unnerving in its accuracy, it gives me chills considering it. Was she just eager to return to the musical mood of Felt Mountain? Or is she instead hoping for one more drive through the autumn air of a southern twilight?

I’ve heard a lot of people berate this disc for being such a departure from their last two efforts. These people are idiots. Not least because they overlook how similar it is to Felt Mountain. I consider their catalog as a story; Felt Mountain was the foreplay & romance, and led onto the passionate seduction of Black Cherry and Supernature. Seventh Tree on the other hand, is a return to the satisfied sensation of comfort, or at least a remembrance of it in the face of changes to come.

I never thought I would return
To be consumed by you again
But I know a paper moon
The folly of a monster love like you

Impossibly brilliant.
A