Great album, not completely consistent, but the rest of the tracks make up for that.

Fans of Goldfrapp's first release will appreciate the expansive open-air sound that blends electronic and folk elements into a seamless masterpiece.

After giving up on the Glam-Rock revial thing, Goldfrapp have returned to a sound more in common with their Germanic themed "Felt Mountain" album from a few years back. Some great tunes to be found on here, mellow, chilled and quite delightful. Where it works its superb: Some People, Cologne Cerrone Houdini (the standout track by far), where it dosn't, it sucks: Caravan Girl. On the whole a great listen. An album for a long hot summers day.… Expand

Instead of doing another 'Felt Mountain', which is what early speculators were saying, Goldfrapp shift music styles again. And just like with 'Black Cherry', they do it beautifully and with such grace that the result is something magnificent instead of cheap.

Compared to their previous albuns, this is a bad record. The only real stan-outs are "Clowns" and "Eat Yourself"

Right at 'Clowns', I turned the record off. The only Goldfrapp track I had heard was 'Ooh La La', which was a mean dance track that made you want to do things that you didn't want to do. Very wrong things. Here I am presented with "Only clowns would play with those balloons" and I'm thinking 'What the hell, Allison Goldfrapp?" I later visit the album, remaining impartial to her previous dance work and listened to as music instead of my former venture. The result were beautiful pop and folk tracks that sleepily took me away and gently laid me down to sleep at 'Monster Love'. By far my favourite Goldfrapp record to date.… Expand

Absolutely brilliant. I sincerely believe this is their best work yet.

Sublime perfection.

Brilliant; their best album yet. Goldfrapp gone ambient folk doesn't do thisjustice at all; in fact, despite numerous comparisons, I see little to no relation with ambient whatsoever. While ambient washes and gentle guitars may act as the the pristine backdrop, what's really interesting is in the foreground. The breathtaking vocal harmonies of "Eat Yourself", the chirpy flute of "Happiness" and the heartrending violin sweeps of "Cologne Cerrone Houdini" latch on to part of your brain and refuse to let go. Easily the duo's most accomplished, beguiling and delicately beautiful album yet, and a real punch in the gut to those who had written them off as mere glammy electro-popsters after 2 slightly less-than-stellar albums. Oh, and if anyone had any faith left in pitchfork whatsoever, the 4.6/10 for this as well as the 6/.010 for Safe and Sound (easily Kohncke's best work yet by a mile) must surely be the final nails in the coffin.… Expand

SEVENTH TREE is a blissful little record. While most miss their glam-electro days, I for one am glad they're gone. It was getting tired. This huge departure seems completely right. Opener "Clowns" is almost entirely incomprehensible (and if you have the lyric booklet, you'll realize you can't even hear the words the book says she's singing). Despite this, it's also on of the best songs on the record, with a truly heavenly vocal performance. "Little Bird" and "Happiness" bounce around with glee (the former's outro crescendo is amazing), and then it drips into 3 more toned down songs. "Road To Somewhere" is a beautiful, calm pop song. "Eat Yourself" is peculiar, and also shares the incomprehensible trait of the opener. It's a beautiful vocal, but I don't think the incomprehensibleness works as well as it does with "Clowns." It's a heartbreaking song, according to the lyrics. But... you can't really hear the tale. "Some People" is a quaint little number, not bad, not amazing, and it goes on for a tiny bit too long. "A&E" is a super-produced pop gem, that, aside from this small production jaunt, is a winner of a song. "Cologne Cerrone Houdini" is an amazingly chilled out track with Alison's best performance on the record, soaring high above the heavens. "Caravan Girl" is the real standout here, blowing us away with a whirl of pop and a tale of escape, while closer "Monster Love" is a beautiful closer, with the ultimate closing line: "Everything comes around / Bringing us back again / This is where we start / And where we end." Is it just me, or is that a non-coincidental nod to fans' "full circle" idea? Hm. SEVENTH TREE is a stunning toned down album from a glammed out duo, rightfully turning in the drum machines for acoustic guitar. Alison Goldfrapp's voice has never sounded more transcendent. I loved it. And it's a grower, so it will get better with each listen.… Expand

A pastoral album perfect for walks through the countryside or romantic frisks through the moor. Standouts to me are "Clowns, "A&E," and "Caravan Girl," and my absolute favorite track is "Monster Love." Well done!

Goldfrapp manages to transcend their tremendously catchy synth-pop(opera) albums (BLACK CHERRY, SUPERNATURE), returning almost to their first album with a quiet, soaring, devastating, sweet semi-throwback to 60s hippie strumming and yet something so, so vital and new...epic, personal, completely necessary contemporary listening.

This is very different from their last record's funky little numbers, but it's good nonetheless.

Almost perfect.

This is not good.

Love the slower songs, favorite one yet since their first CD.

Most of Goldfrapp fanbase (Me included) think that this duo can do no wrong. Seventh Tree proves they're (we're) wrong. Seventh Tree is a dull and unpalatable record.

Pretty good stuff. Very different from their previous albums, but I think far more interesting.

A melancholy masterpiece.

Love the new direction they have taken. The electro-glam-pop thing is abit done to death lately, and I applaud them for taking a risk. I bought the limited edition box, and it was totally worth it. Beautiful photography and love the whimsy direction given by BigActive. Favourite tracks include 'Clowns', 'Some People', 'Caravan Girl' & 'A&E'. However the best track has got to be 'Monster Love' – absolutely haunting, ephemeral and beautiful.… Expand

Their electro phase never really hooked me; others did it so much better. But this is transcendent, sweetly-sad, current and throw-back at the same time, weird and lovely--more like they were at the beginning of their career. And the cover? Inspired.

Goldfrapp's fourth album Seventh Tree arrives with high expectations after the relatively disappointing by-the-numbers dance focused Supernature. It's not that Supernature was a bad album, the problem is that it was the follow up to the electro masterpiece Black Cherry and paled in comparison. What makes Goldfrapp an interesting musical act is their ability to make a odd, deconstructed melody into likable, but still odd, pop. Many predicted that the fourth album out of Goldfrapp would delve more into the mainstream after they had successful hits with Ooh La La and Fly Me Away (used in numerous commercial and campaigns). However, Seventh Tree is a complete retreat away from the electronic underground dance that spiraled Goldfrapp into semi-popularity. Cold synth landscapes have been replaced with warm strings and acoustic guitars. Alison's lyrics toy with the topics of self-harm, cults, and love (lost, of course) and are generally more memorable than most of her previous songwriting excursions. Although Seventh Tree may be viewed as the success to Goldfrapp's mellow, spacy first album Felt Mountain, Seventh Tree is only similar in tempo. Rather than being Portishead in-the-key-of James Bond theme songs, Seventh Tree plays with 60's & 70's rock-pop (Caravan Girl, Happiness), electro-folk (Little Bird, A&E), and string balladry (Road To Somewhere, Some People). Easily Goldfrapp's second best album behind Black Cherry, Seventh Tree is a moody, fussy, and beautiful ride.… Expand

I dunno.....I really liked the last few efforts from Goldfrapp. Played them to death actually. With this new one though, they seem to have committed the greatest sin you can in music. This record is boring. I have listened to it about 10 times after reading that you have to "give it a few listens to truly get it" but I don't get it. To me it's snooze inducing and I generally enjoy softer deliberate music. Let's go back to the fun, exotic and interesting Goldfrapp sound that you cruelly bated us with before effectively putting us to sleep.… Expand

Great album from the british duo that moves away from the direction that "Black Cherry" and "Supernature" indicated, without losing their identity. The album is a great addition to their career thus far and showcases beautiful songs that Alison Goldfrapp embodies perfectly.

This is Goldfrapp for adults... You see I understand the evolution of Goldfrap this way: Felt Mountain - a pretentious 20something full of big books and big Ideas the he/she doesn't understand but feels compelled to speak about them with airs of superiority because he/she is in love with the contents of their own mind. (my reaction: Oooh, you're so cute! Now shuddup and lets f*ck!) Black Cherry – reaching the late 20s he/she suddenly realizes that sexuality and intellect intersect at co-ordinates far away from “knowledge”. In fact, realizing that intellect and sex are about sexual power-plays (where, when done correctly, there are no losers) he/she proceeds to explore the dark and naughty side. (my reaction: Oooh, you’re so dirty! Now shuddup and lets f*ck!) Supernature – a decade after entering the sexual awakening he/she has developed “skillz” in the ‘ol sac and is now full of confidence. Realizing the power he/she now possesses - the sex is fully on display; challenging all comers! (my reaction: Oooh, you’re so hot! Now shuddup and lets f*ck!) 7th Tree – years at the top of the game have had a profound effect. Recognizing the complexities of the human condition and the beauty of life he/she no longer wants to put the sexuality on display. A humility, which can only come from a deep understanding, is now the dominant trait. (my reaction: I’m so in love with you! I always will be...the reply back: Shuddup and lets f*ck!)… Expand

I heard a lot of bad things about this album, but I went out and bought it anyways and I'm glad that i did. Goldfrapp effectively inserts her remote, mysterious, emotionally empty glam-trip-hop persona into a genre where its presence seems antithetical: laid back singersongwriting. Very nice. Buy it and listen to it while you chill or do work. Don't listen to the haters.

Best record I've heard this year thus far. Better than Malkmus and that's saying something. Now remember, listening to this means - gasp - sitting down with a good set of speakers, pulling out the booklet and LISTENING to it. Don't have close to that much patience? Don't bother. If you love the craft, you'll love it. And I'm not talking about the movie.

I agree with Kyle G -- this album is boring. Allison's voice ends up sounding like a pillow for most of it. Even the slower Felt Mountain featured some vocal acrobatics. Here, she just plods along.

This album reminds me more of their first album in the sense that it's much slower and more sentimental. The songs show how they wanted this album to be different from Black Cherry and Supernatural, and I understand some people might not like that. I still like it for what it is and hope they keep releasing great music like this.