It's hard for musicians to make a new album. Do they stick with the tried and tested format that gave them success in the first place and risk being described as boring? Or do they try going in a new direction and risk frustrating their fans and record label? Surprisingly, the possibility of alienating their fan base has never seemed to bother chameleon-like British duo Goldfrapp.
Their first album, released in 2000 and titled Felt Mountain, was an ambient album with yodelling. This method was ditched on the follow-up albums, Black Cherry and Supernature, and replaced by lusty synth-pop tunes complemented by disco balls and feather boas on stage. Their newest effort, Seventh Tree, marks a return to a quieter style, but it cannot in any way be compared to their debut. Instead of aiming for ambiance, the album gently lulls you with its summery folksy charm.
In fact, Seventh Tree is so gentle that every time I tried listening to the album I fell asleep, which is definitely not an encouraging sign. In part, this is due to the fact that Alison Goldfrapp sometimes sings in a swooping Björk style (i.e., she is undecipherable). Without full lyrics included in the album cover, I would never have understood the musings about clowns and a caravan girl. Moreover, as a fan of their more electro-dance songs "Strict Machine" and "Ooh La La," I was not prepared for the lack of any real up-tempo songs.
Despite challenging all expectations I had (and sending me into a slumber), it is still a great album. Alison Goldfrapp has always had a very versatile voice, and this album gives her a chance to show another side to it. Often you can hear echoes of other singers, such as Joanna Newsom, and the first, beautiful track, "Clowns," would not be out of place on Joni Mitchell's Clouds album. Indeed, Alison's voice on Seventh Tree often reminded me of old folk singers that my father used to force me listen to.
The album still has a modern feel, however, due in part to the clever and subtle production skills of both Alison and her musical partner, Will. Electronic beats are combined with choirs, acoustic guitars and string instruments. Even though it features folk elements, these are locked in constant battle with Goldfrapp's signature electronic style. The album could run the risk of being nothing more than bland coffee table music, but avoids it by including some good pop moments. The first single, "A&E," is an accessible song stripped of the more airy elements found on the rest of the album.
Goldfrapp's songs have typically been dark seductive affairs. This album does hint at darkness by mentioning cults and pill overdoses in "Happiness" and "A&E;" however, the album is much lighter than previous efforts, which would never have included the line "She's like a little bird / She flies from A to B." Neither does Alison adopt the dominatrix role of old, which translated into a strong aggressive singing style. Instead, she sings in a dreamy fashion about finding and losing love. This will certainly impact their live shows. Gone will be the outrageous outfits and sets. Now, they plan to make the shows more acoustic and bare.
So despite only being awake for the first half of the album, I would certainly recommend Seventh Tree. If you don't like it, there are always three more very diverse Goldfrapp albums to try. 3
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