'Ceremonials' is louder, more eclectic than the group's debut album
Florence and the Machine is back in the spotlight with sophomore effort “Ceremonials,” and it seems the “Machine” has grown louder and more eclectic since the group’s debut.
Florence Welch, the group’s front woman, was discovered when she was overheard singing an Etta James song in the bathroom of a London bar.
Welch gained attention in the United Kingdom with songs like “Kiss with a Fist,” which was a successful track before Welch was signed to a label. Florence and the Machine has been nominated for music awards in the U.K. and the U.S., and the group has won honors on both sides of the pond.
On “Ceremonials,” released Nov. 1, Welch takes a risk by exploring new sounds and instruments. The overall package gives off a tougher vibe than Florence and the Machine’s debut album “Lungs.”
When Welch was recording “Lungs,” she didn’t have a backing band. Most of the percussion on the singer’s first album was created from banging on walls or hitting pots and pans, which gave the album an organic, do-it-yourself feel. It was impossible for Welch to recreate all those sounds by herself in live performances, so the singer recruited a band to join her for televised performances and touring.
Clearly Welch enjoyed collaborating with others because teamwork rings loud and clear on “Ceremonials.” “What the Water Gave Me” and “Shake It Out” feature multiple voices on backup vocals. Harp, heavy electronic drums, tribal-like chants, tambourine and strings also make appearances on the album. Welch also makes a brave choice by sprinkling a few a capella moments in between layered instrumental sections, notably on “Never Let Me Go.” These moments are unexpected, but they are used appropriately and intensify the album’s haunting lyrics.
It seems like Welch’s vocal range has expanded and the singer has learned more about her abilities since the release of “Lungs.” Welch’s belted notes are more frequent and more powerful, especially on album standouts “Lover to Lover” and “Seven Devils.” It’s hard to place Welch’s music into just one genre. Her voice can embody a variety of qualities, from the deep, grounded belt of a soul singer to the light, floating trill of a classically trained soprano.
Despite trying new sounds, Welch hasn’t completely abandoned the factors that helped her gain success as a musician. The lyrics on “Ceremonials” are richly poetic, and themes range from creepy-tinged tales (“Seven Devils”) to melancholy love songs (“No Light, No Light”) to inspirational anthems (“Heartlines,” “All This and Heaven Too”). Welch sings about dark scenarios without frightening her audience. She sings about romance without making die-hards break down crying or causing cynics to throw up. She uses repetition, but it’s entrancing, not annoying.
“Ceremonials” is one of those albums that gets better with each listen. Each spin opens listeners up to a smart lyric they possibly missed the first time or an interesting instrumental melody that was difficult to pick out during round one. Florence fans will not be disappointed with the group’s sophomore effort. Hopefully the future holds more award nominations and wins for Florence and the Machine. This album is certainly worthy of critical acclaim.