Ceremonials

Description

There's a point just past the halfway mark on "Shake It Out," the rousing first single from Florence + the Machine's second studio release, when the swelling guitars, organs, and strings, staccato percussion, and Florence Welch's air-raid siren of a voice lock up in a herculean battle over which one is going to launch itself into the stratosphere first. It's a contest that plays out at least once on each of Ceremonials' immaculately produced 12 tracks. Such carefully calculated moments of rhapsody would dissolve into redundant treacle in less capable hands, but Welch does emotional bombast better than any of her contemporaries, and when she wails into the black abyss above, the listener can't help but return the call. Bigger and bolder than 2009's excellent Lungs, Ceremonials rolls in like fog over the Thames, doling out a heavy-handed mix of Brit-pop-infused neo-soul anthems and lush, movie trailer-ready ballads that fuse the bluesy, electro-despair of Adele with the ornate, gothic melodrama of Kate Bush and Floodland-era Sisters of Mercy. Producer Paul Epworth (Bloc Party, Friendly Fires) knows that the fiercest weapon in his arsenal is Florence herself, and he stacks her vocals accordingly, creating a fevered, pagan gospel choir on "What the Water Gave Me" and "Leave My Body," a ghostly, Phil Spector-ish chorale on the surprisingly Beatlesque "Breaking Down," and a defiant, uplifting horde of merry pranksters on the spirited "Heartlines," resulting in that rare sophomore outing that not only manages to avoid the slump, but bests its predecessor in the process. ~ James Christopher Monger Review: Worries? None. - I was almost worried that Florence wouldn't be able to follow up on her absolutely perfect debut, but listening to the album (For the 6th time now) all of my fears have been eradicated. Absolutely stunning vocals and lyrics swell beautifully with dark, haunting, and exciting music, with the instrumentation flowing so perfectly into the songs! This album easily tops Lungs' stunning sound and expands upon it. If you loved Lungs, you will love this even more, of this I have little doubt. Only If For A Night - A stunning opener, which starts off softly with 'And I had a dream/about my my old school/and she was there all pink and gold and glittering', and those three lines just leave me feeling nostalgic already, as Florence thinks about her past. The music swells into the wonderful chorus, making this song the perfect opener. Shake It Out - The second single released thus far, and lots of fun to listen to. A far more 'dancy' tune then some of the others, even with the really dark lyrics. The deep organ sound at the start really carries the song along. 'It's always darkest before the dawn...' Florence calls, as the song picks up, and the song's central thought it revealed, albeit through an exciting tune. Great song. What the Water Gave Me - The first single, and possiblity my favorite Florence track of all time. The song, at over 5:30 long, is a winding stunner, as Florence croons about drowning herself 'Cuz they took your loved ones, but will return them in exchange for you'. She explains why she must die, and that 'she's a crueler mistress, and a bargain must be made'. Powerful lyrics, powerful vocals, haunting melodies, and amazing music tops my music list for quite awhile. Never Let Me Go - The beginning of the track confused me for a minute, before I really started getting into this one. A rather slow one from Florence, opening with a soft piano track and only faint drums to carry it along, alongside loads of harmony from Florence, and a loving, sweeping chorus. Breaking Down - Starts with what sounds like a harpsichord, with a bouncy drum track, and never lets up from there. I was reluctant at first, but the harpsichord sounds proved addicted, and I'm really loving this song now. The echoing sound from Florence's voice in this one is wonderful! Lover to Lover - Easily one of the most dance-worthy songs on the album, it sounds quite a lot like an old gospel song, which Florence's giant voice fills perfectly. The jazzy piano and the clever harmonies work wonders. No Light, No Light - The opening of this one really kept me on my toes, as I had no idea where this one was going. The verses are so different from the chorus, but they work together wonderfully, in a big, open-space, song. Seven Devils - Oh my god, one of the most haunting songs I've ever heard. One of my favorites. The lilting, creepy, fearful edge of the piano and strongs, conbined with a urgent sense in Florence's voice equates to one of the most stunning songs on here. Heartlines - An aching song of what seems like some sort of love, as Florence sings over a thrumming bass line and pounding drums, with a sparkle of harp on the edges. The powerful chorus is just amazing! Spectrum - Opening with a soft humming high violin note, as Florence sings softly over the soft music. Florence's wodnerful voice really shows its range, as we move into the throbbing chorus, settling down as the song moves to a close. All This and Heaven Too - A quicker song, opening with sparse intrumentals, before moving into a driving chorus, as the background vocalless singing carries the song beautifully. Leave My Body - Opens creepily, and when Florence begins to sing, the song continues the almost creepy edge, but cools off a bit, intul we pull into the haunting chorus, as Florence croons 'I'm gonna leave my body, I'm gonna lose my mind...' Remain Nameless - Opens with a deep bass line, computerized drum beats, and echoing, haunting vocals. Sparse intrumentation, with a creepy drive the entire time, as Florence sings about how she wishes to 'remain nameless... Live without shame...". The music keeps to a stready thrum in the background during much of the song, focusing mostly on Florence's vocals and lyrics. This one has a great dance beat though, and really manages to be amazing. Strangeness and Charm - Relentless voice, relentless music. Just plain fun, with a driving beat, loads of vocals, and a sweeping chorus. I'm glad I got the bonus tracks, especially because of this. Bedroom Hymns - Really fun beat at the start, with a distorted electric guitar. Florence's vocals come in quickly, and carry the song on a long jaunty path. Definently has a religious feel to the song, as Florence sings about 'Jesus on the mind', and how she's 'already on her knees', as the song sweeps forward. What the Water Gave Me (Demo) - A really interesting version of What the Water Gave Me. It starts with more of a synthesized song, instead of the sweeping music in the actual version, that makes this version sound more like a techno remix rather then a Demo. Fun nevertheless, but this one actually puts the emphasis on the chorus rather then the verses, which the actual song does in reverse. Overall an amazing album. I'm so happy with it, and believe this is my favorite album this year. Review: Baroque Pop Brilliance - The much-anticipated follow-up to their first studio album "Lungs", Florence + The Machine have hit new creative heights with this latest release. The first thing I have to say about "Ceremonials" is that it is compulsively listenable. I rarely come across an album where I don't feel the need to constantly hit the track button on my mp3 player. I am content throughout the entire listening experience and sure to find new things to appreciate each time I listen. I already have my favorites that I go to again and again but it's all wonderful. In its early stages, Florence Welch said the album was "much bigger", even inventing her own genre for it and dubbing it "chamber soul" (a mix of soul music and chamber pop). And it is much bigger - "Ceremonials" is highly theatrical, its dramatic compositions comprised of classical instruments (piano, harp, strings) and beatific choral segments its principal elements. I feel as if I'm attending an opera or a symphony when I listen to it. Each song grabs one's attention, with some containing unique and unpredictable transitions. All of its musical blueprints are one of a kind yet blend seamlessly to create a near flawless collection of baroque pop opuses. Strong, punctuated notes on piano and a twinkling harp make for a strong entrance for Welch onto the album and into its first track "Only If For A Night". Though I loathe saying this (and it's ironic, considering I watch the show), I can just see "Glee" trying "Shake It Out" on for size; this track has the same playability factor of "Dog Days Are Over", its chorus perfect for belting (shake it out, shake it out/shake it out, shake it out, oh woah!/and it's hard to dance with the devil on your back/so shake him off!). It's easy to see after listening to its upbeat and contagious rhythms and lyrics why it was one of the album's first singles. "What The Water Gave Me" does a PJ Harvey-esque creep into the proceedings ("Down By The Water" comes to mind), its lazy, hollow guitar riff and slighting droning and moody chorus making it a sound addition to this collection. "Never Let Me Go" is a majestic and despairing love song, one that speaks of accepting a love affair's end and surrendering in full to its heartbreak (and it's over/and I'm going under/but I'm not giving up/I'm just giving in). Welch talks of the ocean "carrying" her, and the song fades fittingly on what sounds like the glug of brackish depths and the distant echo of whale song. "Breaking Down" and "Lover To Lover" are the steadiest and most mainstream pop-rock tracks on here. "No Light, No Light" grabs the listener by the shirt collar with its arresting chorals and funereal organ, its hymnal beginnings quickly foraying into a turbulent and urgently paced song. The foreboding of "Seven Devils" induces goosebumps with its introductory effects and rolling cymbals, the listener jolted into attention as Welch sharply breaks the whispery atmosphere with a tortured vocal. The song has a certain sense of dread rooted in its eerie assembly, much the kind with which its singer is all too familiar (Welch suffers from panic attacks). I was instantly attracted to its dark ambiance, in particular its labored and thunderous drumbeat along with its trickling and creeping piano refrain that inspired visions of suspense and horror films, not to mention its theme of the many "devils" that reside inside us all and threaten to tear us down. "Heartlines" ascends with chimes, the distant cawing of a bird, and a relentless and commanding drum beat overlaid by an almost primal call of "yeah" that prances up and down the scales as the song commences into a hammering and frantic pace. A prolonged and tremulous note from a violin opens "Spectrum" with Welch coming in softer and lower than is characteristic of her, but it's only seconds before she's trilling in the upper octaves on the song's chorus, beseeching the recipient of her song to "say my naaaaame!" while she pierces their eardrums with her unapologetic wailing. "All This And Heaven Too" contains some beautiful and lucid songwriting; it the best track lyrically on the album. "Leave My Body" is a magnificent and celestial closer, haunting and echoey gradations of Welch's voice fading the record out like sonic screams evaporating into the vastness of space. I find myself agreeing with another reviewer's supposition* (see 3-star review titled "Devil's Advocate") that a measured amount of restraint on Welch's part would've given the album more nuance. But it's hard to suppress a voice like that - after all, Welch often got herself into trouble in primary school for impromptu singing, so now that she is an adult and no longer under the thumb of petty authority, why would someone ever expect her to reign it in again? Despite this one small complaint, I am very much in love with this release, and would wholeheartedly recommend it to friends and fans of the band alike. One of my observations of this album is Welch's constant references to water, and I use this element to give a final impression on potential listeners by saying that although clarity may not be apparent in "Ceremonials" (some lyrics are harder to interpret than others - sometimes only the poet knows what they are talking about), fluidity most certainly is there. And boy, is it ever cool and refreshing too.