Florence and the Machine | How big, how blue, how beautiful

A new Florence and the Machine album in time for them to headline Splendour in the Grass. What more could we ask for? Recent single Ship to Wreck opens the album with a dream state that questions the array of ocean objects swirling around her head as Florence Welch soars above the cutesy, shimmering instrumentals, while What Kind of Man conjures up an image of Lorde plucking Welch’s vocal chords – a minimal guitar progression brings the song to life. It falters before being brought back by jagged rips on the guitar, and Welch reflects the aggression in her voice. This song reminds you just why Florence + the Machine hold that special place on your playlist.

Delilah sounds like it was written around the time Ceremonialsmade its way out of the studios. Thundering drums push the song along before the keys take over, striking down like lightning as the drums groove back in time with the keys, giving you the chance to dance in turn along with the song. The lyrics throughout the album definitely feel more mature and, according to Florence Welch, they come from a different place in her life. Welch told Zan Lowe that she wasn’t allowed by Producer Marcus Dravs to write more songs about water, and despite his intents, Ship to Wreck managed to slip onto the LP. Upon listening to the album a few more times, the intricacies of the album present themselves, and I am that much more excited to experience the new tracks swirling around North Byron Parklands next month. The band has managed to create ethereal soundscapes without the need to use mystical lyricism, and Welch’s vocals are just as strong as ever.

Be first to comment