The English “machine” in which all the well oiled gears work perfectly in sync continues to produce successes. And the credit for this goes to its engine and beating heart: Florence Welch.
As Apple's commercial success is due to its "creating" the market rather than following it, so Florence + The Machine is one of those few bands that instead of bowing their heads in front of the "mainstream“, He courageously dares and manages to modify it to his liking.
In fact, from a nascent "indie" group we would expect riffs (always the same) played by Telecaster with a slight overdrive and a singer who, as usual, emulates (badly) Ian Curtis. The story of Ceremonies, which, according to Miss Welch's statements, is part of the "chamber soul", a neologism that beautifully describes the sound of this second album: an unprecedented marriage between soul (almost gospel from African American masses) and "chamber music " (chamber music).
A very noble union that highlights the sophisticated environment in which Florence received her education as a child: a mother professor of Renaissance studies at Harvard and a famous advertising father make the singer an interesting mix between the harmony of classicism and the noisy chaos of modernity .
The first two singles released make one thing clear: this is not a catchy song record. That Florence was good at churning out singles from the standings has already amply demonstrated in her debut with Lungs. This time “the machine” has set sail for more ambitious ports.
The first single What the water gave me it is the sound of a modern sacred ceremony. The first 40 seconds suggest that in the so-called indie getting rid of Joy Division is impossible. But just wait and the song manages to take its own path: celestial harps and choirs rise high, driven by a slightly new wave electric bass, essential but never so present.
The second and currently last single, Shake it out, is the entrance ticket for Florence to the Olympus of divas inhabited by Kate Bush and Tori Amos: a crescendo of organs and backup vocals bring to mind the talent of Annie Lennox in No more I love yous.
In all the songs you can breathe a grandeur always at the limit, poised between excellence and exaggeration, typical of some ballads of the 80s (and here the Eurythmics by Lennox fit perfectly).
The tracklist is dominated by the gospel tradition, as heard in Never let me go, No light no light, Leave my body and Only if for a night (in my opinion probable single extract, given its intensity). The constants are a bare rhythm section, almost made up of only the snare drum, kick drum and the tinkling of some cymbal, devoted exclusively to keeping time without wanting to be too melodic, while the harmony is entrusted to the exciting church choirs, combined with organs, harmonium and heavy piano chords, in which all the sounds are suspended in mid-air in an infinite sustain.
Not to be confused with Breaking Dawn, a chapter of the Twilight Saga to which the name Florence + The Machine is linked (Heavy in your arms is one of the main titles of Eclipse), Breaking Down, with its string ensemble, it sounds like Arcade Fire's “modern chamber music”.
Di Lover to Lover conquers his blues soul, which goes perfectly with the "black" voice that Florence manages to bring out with an embarrassing simplicity. One of those songs that have the side effect of making you suddenly get up from your chair, singing possessed "praise the lord!".
And if Seven devils really like it with its dark side, hidden in the disturbing piano staccato, Heartlines not convincing. It is the exact demonstration of the blurred boundary between majesty and excess of impetus that makes those who want too much "high", as in Black Jack. A swing drum intro that then turns into something African-like that clashes with the organicity of the rest of the record. Chorus is also too easy, both in the lyrics and in the melody. The ideal song if you want to launch a fundraiser for the abolition of public debt in the Third World.
Spectrum e All this heaven too they use Lungs' formula for success, bringing with them the style of the very successful Drumming songs and The dog days are over, albeit giving us pleasant references to 80s dance (the first) and sudden, elegant changes of tonality (the second), yet another proof of the artistic maturity reached.
Ceremonials is a delicate yet monumental album, surrounded by a magical sacredness. Florence Welch's voice, at times lyrical, at times soulful, with that continuous interrupted vibrato, moves. And do you know who put a hand in those large reverbs that permeate the entire album? A huge historic room with impeccable acoustics: Abbey Road, ladies and gentlemen.
Also to listen to the deluxe version of the album, just released. The tracklist goes from 12 songs to 20 and contains not a few pearls (bonus tracks, demos and acoustic versions) that I will let those who want to learn more about this unpredictable English red-head who has a lot of years ahead of him. at the top of the charts.
Thumbs up for: Only if for a night, What the water gave me, Shake it out, Seven devils
Thumbs down for: Heartlines
FLORENCE + THE MACHINE - CEREMONIALS
Produced by: Iceland
TRACKLIST:
1. Only if for a night
2. Shake it out
3. What the water gave me
4. Never let me go
5. Breakdown
6. Lover to lover
7. No light, no light
8. Seven devils
9. Heartlines
10. Spectrum
11. All this and heaven too
12. Leave my body
The photos used in this article are copyright © of the official website www.florenceandthemachine.net
