It's not just the flowing blonde locks and the impressive, extensive wardrobe that prompts comparisons between Alison Goldfrapp and Madonna; both artists know a thing or three about reinvention, too. Since Goldfrapp's inception in 1999, she and songwriting partner Will Gregory have consciously made intelligent, informative pop music that always wore its heart on its sleeve, no matter what the genre policy; but the difference between them and their comparables was that Goldfrapp didn't - and still haven't - retraced their steps on any two albums. Early reports on Seventh Tree, their fourth studio album, suggested that it harkened back to the pastoral, unsettling chillout of superb debut Felt Mountain. While this is true to an extent - in other words, it largely forgoes the glam rock/indietronica vibes of Black Cherry and Supernature- Seventh Tree's idiosyncrasies are not as acute or as obvious as Felt Mountain's. You won't find much use of sampling, or a notable trip-hop influence here, for example - instead, Alison assumes the role of breathy, fantastical folk maiden for its bulk. Opener Clowns is a prime example, its warm, dreamy folk coo reminiscent of Vashti Bunyan or something from The Wicker Man soundtrack; Eat Yourself's heartbreaking lament: ("If you don't eat yourself, no doubt the pain will instead") and considered tempo sounds like Zero 7-meets-Cocteau Twins, and Cologne Cerrone Houdini's chic European glint embraces the same laid-back style. Most of Seventh Tree is, admittedly, a downtempo album, but the ticklish stomp of A&E, the twinkling seventies pop of Caravan Girl and the hip-shaking sass of Happiness pick up the slack where it's most needed. This is probably Goldfrapp's most multi-faceted album yet, which means it's harder to get into - but give it time, and its blossoms will fill your eardrums with warm, musical honey. Tasty.