The psychedelic really comes into play on the more up tempo numbers, “Little Bird” and “Happiness,” the first of which starts slow, but by song’s end, takes a turn towards one of the deeper cuts on The Yellow Submarine. “Happiness” takes Goldfrapp’s signature swing and forgoes the usual hard-edged, chunky synths for softer synths, various horns, and an array of strings and technique that would impress a young Brian Wilson. The same can be said for most of the album’s composition that, for the first time, finds the band enlisting the help of outside musicians, as well as from U2/Nine Inch Nails/Depeche Mode producer extraordinaire, Flood. Much of the arrangement recalls the previous two albums, only this time they are merely played through a variety of different instruments and musicians. This about-face is a means to an end is most apparent in the aforementioned “Happiness,” as well as in the single “A&E.” You can almost hear the good people at Target putting together their spring campaign to one of these two songs. The hooks are certainly still there.

Seventh Tree is a wonderful step sideways for Goldfrapp. They’ve traded pop-glitz and glam for folk-psychedelia and sun. It is still undeniably Goldfrapp, and with a voice like that, how could it not be? Will Gregory, with the aid of Flood, has done some of his finest work to date. For those of you longing for a taste of the “wonderful electric,” there is always the live show. I, for one, cannot wait to see how this album translates to the stage. With a tour currently underway across the pond, my fingers are crossed that it makes its way to the states, animal heads, Maypoles, ribbons, and all.