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Seventh Tree

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Adrien Begrand of PopMatters found that Seventh Tree "might be a quieter and more introspective disc than we'd been expecting, but this is still a quintessential Goldfrapp album with Gregory's arrangements brilliantly underscoring the inimitable vocal versatility of his female foil. And so it's come as no surprise that after having done such with their last album - the amazing Moroder-meets-Weimar glittering sauce-fest that was 2005's Supernature - that Alison Goldfrapp and Will Gregory have opted for a more relaxed and even - crikey! Seventh Tree followed the glitterball glamour of platinum-selling album, Supernature (2005), and is very much its sensual counterpoint. La musica di questo duo mi è sempre piaciuta e li sto riscoprendo tramite la serie dei vinili colorati. Each Goldfrapp album is like a different wardrobe to wear and Seventh Tree presents it's own unique weaving of colorful fabrics and cloths.

postcards containing unseen photos included alternate shot of the owlman, and Allison standing in a cute polka dot uniform alongside a horse behind a tree. Una pieza más para la colección de reediciones que está lanzando Goldfrapp de sus discos anteriores con diferentes colores. It's an LP that on the surface is about the feeling of freedom and being free, but in reality it's about all the things we do to ourselves to enslave ourselves and deny ourselves the freedom we all crave. The album then slows down with a set of sadder, slower pieces that talk about loneliness and despair about broken relationships. Seventh Tree' was the fourth album by English duo Goldfrapp and was a move away from the glitterball disco-pop they had peddled previously.Bassist Jon Davie adopted the nom de punk John Thomas; whatever you think of their opportunism, you can't fault the dedication of a man so keen to keep his career alive he was willing to name himself after a euphemism for the penis.

It's just too bad most listeners won't be able to say the same about their own reactions to this new one. The successor to two collections of camply sexualised, glam-influenced electro-pop, Seventh Tree represents a dramatic rethink: out go the stomping glitter beats and whip-crack synthesisers, in comes "psychedelic folk". It would put me in the mood of what nature setting I reside in and make life around me more magical. Barney Hoskyns of The Observer commented that the duo "have made an album as hummably lovely as it is knowingly referencing of a certain tradition of neo-psychedelic English whimsy.At its best-- the desolation of "Cologne Cerrone Houdini" and "Some People", which inject the ambience with a much-needed eeriness-- this stuff's fairly soothing; at its worst it evokes that old "Mystery Science Theater 3000" bit about the two-note chords of New Age music: "Put your finger down here. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Seventh Tree's accompanying blurb depicts Goldfrapp and Gregory, secluded in Somerset, coming up with the notion of making a Wicker Man-influenced psychedelic folk album. With its sweeping strings Cologne Cerrone Houdini has a slight Emmanuel flavour - all soft-focus erotic suggestion - and Happiness and Some People are further proof of the duo's growing songwriting genius and pop nous. It was unprecedented enough that a group which started out trafficking in cabaret eeriness and cinematic grandiosity would ease so naturally into club-pop, so it's not out of the question that dialing back to pastoral, folksy indie-electronica would unearth another side of a duo that was shaping up to be one of the decade's most versatile.

I passed over it after the first few listens but as the immediacy of the more accessible songs begins to wane, I find myself listening more and more to this one and the other inbetween songs such as `Monster Love' and `Cologne Cerrone Houdini'. You'd be better served playing who-did-it best, and what's striking about Seventh Tree is how deftly it manipulates well-worn ideas.

The acoustic guitar is sensational and Allison's voice (espcially her high-pitched cooing at the end) is euphoric, like I just went out on a date with a girl I never met before absorbing this song. Some of the tracks launch themselves into hippy psychedelia and here and there it sounds like some of the instruments are being looped backwards ( "Little Bird" ). It can be upsetting to longtime fans, but often times the only real hurdle to these new directions is unfamiliarity-- just look at Goldfrapp, who startled their earliest fans by shifting from the surrealistic elegance of their 2000 orchestral-pop debut Felt Mountain to a beat-heavy mid-decade run at the dance charts. Alison's voice has never sounded better than on this album and the creativity of the music to accompany her voice is close to perfection. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 78, based on 32 reviews.

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