6
6. Ceremonials - Florence + the Machine
Indie Rock
Florence + the Machine have always had an aesthetic all their own. The lion’s share of that aesthetic is the result of Florence Welch’s iconic, angelic voice which lends a transcendent quality to the music that rejuvenates the listener and leaves them feeling hopeful, even when the lyrics she’s singing are anything but. She’s the driving force behind the band’s success, but definitely not the only reason for it. The other half of the duo is Isabella Summers aka “The Machine”, and her contributions have at least equaled those of Welch’s, as she’s been largely responsible for writing the bulk of the music and frequently guiding production.
The band’s debut, Lungs, achieved a great deal of success in their native UK and around the world. “Dog Days are Over” undoubtedly earned its place on countless end-of-decade lists at the end of the 2000s. While the album was great in its own right, especially for a debut, their 2011 follow-up Ceremonials built massively on that success. It found them settling into their new role in the public eye, deepening their sound and further developing their trademark aesthetic.
Ceremonials is a darker album than Lungs, but it’s far from being bleak. Thematically, it’s a balancing act between the valiant refusal to succumb to temptations, pressures and pervasive hopelessness while also exploring the possibility of what happens when those things are given a short leash, rather than being denied entirely. “What the Water Gave Me” and “Never Let Me Go” find Welch struggling with the allure of the metaphorical deep, seemingly entranced by the freedom that drowning promises and her experiencing an unrivaled warmth and security at the bottom of the sea. “Breaking Down” is a curious track, one of the most sonically upbeat on the album but arguably the darkest, lyrically. Florence sings of a perpetual paranoia caused by an entity that has haunted her all her life. “Even with my eyes shut tight, I still see you coming now”. It’s a strange but gorgeous juxtaposition of light and dark.
“Lover to Lover”, “No Light, No Light” and “Seven Devils”, the sixth, seventh and eighth tracks are the most bleak, lyrically and musically, but comprise the best segment of the album. “Lover to Lover” depicts Florence running from herself, seeking solace in strangers’ beds and in unfamiliar places. “No Light, No Light” details a chasm between two partners as their relationship begins to fragment. It’s sad, but beautiful. The earnestness of “I’d do anything to make you stay, just tell me what you want me to say” effectively comprises heartbreaking emotions that so many are familiar with. “Seven Devils” is a gorgeous and eerie conclusion to this act.
On the more invigorating and hopeful tracks, “Shake it Out”, “Heartlines” and “Spectrum”, Florence offers a level of maternal reassurance that strikes deep and effectively unburdens the listener. Her seemingly ethereal spirit embodies the tracks and provides a wealth of genuine comfort to those who need it. That’s her gift, being a generous provider of hope and encouragement, while so obviously being weighed down with a world of struggles all her own.
*image; cover art for the album Ceremonials by Florence + the Machine