Lungs was easily one of the most unexpected pop crossover successes of the past few years, so with Ceremonials (out Nov. 1), Florence Welch will find out just how far into the darkness the swooning mainstream are willing to follow her. Teaming up once again with producer Paul Epworth, Florence + The Machine’s sophomore effort is a triumph of maximalist, gut-wrenching post-pop exploration that often threatens to overwhelm—emotionally, spiritually… usually both. Like a heathen warrior priestess, Florence dances with the devil in the pale moonlight over songs that stomp and roar, moan and howl. There’s nothing subtle about Ceremonials—this is a huge album that’ll leave mere mortals shaking in their proverbial boots.
Watch A New Florence + The Machine Video, "Shake It Out"
We start off with a relentless 1-2-3 punch beginning with "Only If For A Night", an enveloping swirl of harps and upright pianos that builds into a dense crescendo of tribal drums and reverb-drenched soul-searching. Florence confronts her ghosts and her demons with equal fervor—on first single "Shake It Out", she shuffles loose the chains of despair over a harmonium’s dying breath, howling "It’s hard to dance with the devil on your back, so shake him off!” over an apocalyptic surge of cathedral organs and orchestral muscle. The gorgeous death shroud of "What The Water Gave Me" builds slowly into emotionally devastating electric guitar gospel, while "Never Let Me Go" stacks layers of hazy vocals atop each other, crafting a lush cloud of angelic majesty for Florence’s gripping martyrdom ("The arms of the ocean are carrying me… The crosses are heavy for a sinner like me").
Listen Up: "What The Water Gave Me" By Florence + The Machine
Before the heavy layers of airy noise and choral chanting become too much, we're treated with the propulsive, upbeat baroque pop of "Breaking Down", a wailing chamber hymn that segues gorgeously into the staccato gospel stomp of "Lover To Lover" ("There’s no salvation for me," Florence croons gloriously, "No space among the clouds.") The Kate Bush comparisons come hard and fast on "No Light, No Light", an engulfing rush of gothic cathedral keyboards and late ‘80s Depeche Mode drums. "You can’t choose what stays and what fades away," she seethes, delving even further into hell on "Seven Devils", an ominous pastiche of shrieking, horror movie soundtrack strings and slow-building, atmospheric orchestral flourishes.
"Say my name," Florence demands over the soulful roll and tumble of "Spectrum", an uplifting major to minor key anthem of upper heaven string plucking and wailing vocal crescendos. "All This And Heaven Too" is equally moving, kicking off an odd time signature drum intro up into the stratosphere. We finish with "Leave My Body", a black cloud of acoustic guitars and woodwinds that expands into an effervescent sea of holy-roller choirs and treated pianos. "I wanna leave my body, I wanna lose my mind," Florence yowls, moving up to higher ground while leaving a legion of shaken listeners behind.
It might be a little much for her crossover audience, but with Ceremonials, Florence and her Machine have unleashed that rare beast—a pop album that doesn’t wait for its audience to catch up. A lot of blood and sweat went into these songs—approach them with respect and you’ll find yourself privy to one of the year’s most rewarding musical experiences.
SumOlogy: Bold, emotionally rich, and almost overwhelmingly powerful. One of the best albums of the year, no question.
Rating: 4.5/5.0
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