Florence Welch has one of the most immediately identifiable voices in popular music today. She is also an incredible songwriter. With its somewhat stripped down production, Florence and the Machine’s latest album, “High as Hope” focuses on both to create what is one of the best new albums released in 2018.
The songs on “High as Hope” revolve thematically around the end of love. That thought is so ingrained throughout the lyrics of the songs here that “The End of Love” was originally considered for the title of the record. That subject may sound like the making of a somber, even downtrodden record, but it’s really not. As the album’s chosen title implies, the overall focus is the hope that comes after the hunger for love is washed away. Even though there is an aire of sadness here and there, the songs on “High as Hope” purvey an upbeat feeling of acceptance, comfort, and self reliance. This is all beautifully delivered with the perfect pairing of the music to the lyrics…and of course, the confidence exhumed by Florence Welch’s wonderfully powerful voice.
“Deadwing” is essentially the soundtrack to a film that has yet to be made. Whether it ever is, remains to be seen. Steven Wilson wrote most of the songs on it as music meant to accompany a screenplay he had written with director David Bennion. Although they were unable to get funding for the film, Wilson decided to record and release the songs in 2005 as part of Porcupine Tree’s eighth album, “Deadwing”. Because he still hopes to have the film made, Wilson has never released all the details of the storyline or the concept behind the songs.
From the songs on “Deadwing”, it’s easy to deduce that the story has a somewhat dark theme to it. The album artwork was also created around the story and has that kind of feel to it and Steven Wilson has confirmed that the songs on “Deadwing” tell a ghost story of sorts. Both Wilson and Bennion have remained fairly tight-lipped about the “Deadwing” storyline, although they did make the first fifteen pages of the screenplay available on the Internet:
Reading experience part one: DEADWING script by Steven Wilson & Mike Bennion (first 15 pages)
I don’t know a lot about the movie making process, but I have to guess that as more time passes, the likelihood of the film “Deadwing” ever being made becomes slimmer and slimmer. Even if the movie never happens, I’m glad Steven Wilson decided to release “Deadwing” as an album. It would have been a tragedy to leave music this good unheard.
Sometimes I wonder if I got it all wrong….
Maybe I just wasn’t ready for Arcade Fire when they first came onto the music scene in 2004. Maybe my expectations were too high after hearing raves about their debut, “Funeral”. To me, it was good…but…meh. I figured they were a one or two album band destined to mediocrity. I was wrong.
I mostly use word of mouth and the Internet to check out new bands (I’m not a big fan of the local commercial radio stations today). Thirteen years later, I was still hearing a lot of talk about Arcade Fire. So I went online and listened to them again and found a lot of songs really hit home with me, especially from their 2010 album “The Suburbs”. So much so, that I figured I’d pick up a copy of “The Suburbs” to listen to the album as a whole. It was one of the best musical decisions I have ever made.
Listening to the songs on “The Suburbs” mixed with tracks from other albums, I could tell it was going to be a good album. But the whole is so much better than its parts. This album is a creative masterpiece. The songs are themed around living in the suburbs – the good, the bad, and the mediocre, offering up the lyrics with diverse but uniquely identifiable arrangements.
After listening to “The Suburbs”, I will definitely be giving other Arcade Fire a closer listen. I wouldn’t be surprised if another album from them ends up in my collection. Maybe I should give “Funeral” another listen. Maybe I just wasn’t ready for Arcade Fire’s originality when I first heard it.
Maybe I got it all wrong.
The second album by Dinosaur Jr, “You’re Living All Over Me” is not an album that’s for the faint of heart. Guitarist J. Mascis had a habit of cranking the distortion up on his guitar to levels that would make even Neil Young shudder in amazement. Yet he could somehow make it come out feeling melodic…bordering on controlled chaos.
I’ll admit, this is an album I have to be in the mood for (which tonight I am). It’s raw. It’s raucous. It’s as unforgiving as a sucker punch to your face. And it’s as exhilarating as sitting in the front seat of a roller-coaster that’s about to jump the tracks, but somehow it holds on.
Dinosaur Jr. is one of those bands that is hard to fit into a specific genre because they just did what they did, with no reservations and without ever asking forgiveness.
Dinosaur Jr. was all of the above.
Released in 2011, Ceremonials was the second album for Florence and the Machine. It debuted at number one on the UK charts and was nominated for two Grammys that same year.
Although the production is fuller and more soulful than their first album, the lyrics delivered by Florence Welch’s distinct and powerful voice still feel intimate and personal. She sings with such a sense of urgency, you can’t help but feel these are songs that she needs to get out from inside her.
Almost all the songs on Ceremonials contains multiple layers, making it one of those albums that you can hear something new on even after numerous listenings. Many of the songs on the album incorporate the use of a full choir and harp, at times giving them a lush feeling, while others feel heavier and slightly darker. I can’t help but think of Kate Bush with a touch of Siouxsie And The Banshees mixed in for good measure.
The distinct and powerful voice of Florence Welch helped propel Florence And The Machine’s 2009 debut, Lungs, to number 2 on the UK album charts. But it’s that voice combined with complex musical arrangements that make this album really grab your ear. Not to mention, it is one of the best stereo mixes I have heard in recent years.
Some of the songs have sharp contrasts between the music and lyrics, drawing the listener in with upbeat chords and melodies and then slamming them in the face with lyrics about darker topics, like domestic violence.