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ARTSETC.

Matured Brit-pop album ‘Gold’en

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Also by Rick Maturo:

'Do You Like Rock Music?' seeks affirmative response (February 14, 2008)

by Rick Maturo

Thursday, February 28, 2008

There’s something to be said about an artist whose songs come to exemplify sex. Since their formation in 1999, the London duo Goldfrapp has been synonymous with sultry electronic-pop doused with an inimitable feminine voice. With a previous catalog that wouldn’t be out of place accompanying a greased-up pole and a firm straddle, most would expect Goldfrapp’s fourth studio album Seventh Tree to follow this fervid formula. But then again, who says you have to be boisterous to be sexy?

Many Goldfrapp fans will be taken aback by the fact that Seventh Tree draws less on the heavy electronic-glam-pop of Black Cherry and Supernature to employ a more subtle approach. Alison Goldfrapp and Will Gregory achieve this refinement by pairing the natural instrumentation of acoustic guitars and string arrangements with tasteful synth-work, creating a brand of psychedelic pop that is irresistible and a pleasant return to the earlier likes of Felt Mountain.

The opening track, “Clowns,” floats in with an undemanding acoustic melody that is promptly complimented by Goldfrapp’s airy soprano. Gregory then uses supplementary strings to serve as the backbone for Goldfrapp’s poignant falsetto to make “Clowns” a low-fi triumph.

Despite the fact that Seventh Tree’s first single “A&E” could easily be on this season’s finale of “Grey’s Anatomy” with its tale of a love-drunk, neglected socialite (“Do you really wanna know how I was dancing on the floor?/ I was trying to phone you when I’m crawling out the door”), Goldfrapp’s soaring vocal work transforms this potentially risky power ballad into a knockout. But Seventh Tree does offer several notable alternatives to this sometimes drowsy and emotional pop.

“Happiness” is the blatant sexpot tune, with Goldfrapp’s voice teasing listeners through careful restraint and the suggestive lyric that she’ll “make you better.” Although the vocals may seem like the obvious focal point of this eroticism, without Gregory’s faultless composition of well-placed horns and percussion, the song is a kiss on the cheek at best. Even the feel-good sing-along “Caravan Girl” utilizes a bouncy piano riff decorated with modest psychedelic effects to assemble a pop song that will stick with you long after the headphones are off.

Seventh Tree is certainly a step away from the audacious spectacles that normally come out of this British duo. Some might argue it is a step backwards into the already depleted psych-Brit folk revival, while others say it’s a well-managed step forward from their earlier club-inspired albums. In any case, it is undoubtedly a step in the right direction. Goldfrapp has learned to carefully camouflage the arousal and climax in their songs, which make the final product all the more provocative and rewarding. Divas take note.

4 stars out of 5

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