Hurricane Drunk

More Florence, because I’m kind of in love with her after seeing her sing live. In a very packed weekend of great performances Florence gave Iggy Pop a run for his money for most impressive stage presence. There are lots of performers who impress you with their talent, or their beauty, or their nice personality, but you still think of them as normal people with normal lives. There aren’t that many who simply blow you away in every regard, being so larger than life that you have to wonder how such a person can even be real. Florence Welch is the latter type. She absolutely has the rock star thing down. She has the voice, the presence, the looks, the style, the personality, the songs, and the ability to muster it all together in one seamless, glamorous image. It’s what I’ve always said – image makes the difference between mere talented musician and bona fide rock star. Florence has found her image, one half Pre-Raphaelite Ophelia, one half bohemian rock chick, one hundred percent cool Britannia. Also, red hair. I love red hair.

Here Lies Love

“The story I am interested in is about asking what drives a powerful person—what makes them tick? How do they make and then remake themselves? I thought to myself, wouldn’t it be great if—as this piece would be principally composed of clubby dance music—one could experience it in a club setting? Could one bring a ‘story’ and a kind of theater to the disco? Was that possible? If so, wouldn’t that be amazing!” – David Byrne on Here Lies Love

Unlikely but brilliant. Only David Byrne could imagine that the world was in need of a musical biography of Imelda Marcos. Once he brought Here Lies Love to the table, we realize that that’s exactly what the world was in need of. Now, can we have the movie, please? Or at least a stage musical? It would be stunning. Of course there would be one problem that the record didn’t trouble itself with. None of the singers who took part even remotely resemble their subject. Which is fine for the record – it doesn’t matter, they’re just there to sing. But you couldn’t exactly cast the big stage opening number with Florence Welch. Or maybe you could. If Todd Haynes can cast Cate Blanchett as Bob Dylan, there’s no reason Flo can’t play Imelda Marcos in an equally fast and loose biopic.

Heartlines

This is a very stripped-down version of Heartlines - Florence Welch usually aims for maximum epic. The acoustics aren’t great either. There’s audible talking on all sides. But the shortcomings of an amateur video job can’t dull the impact of Florence + the Machine. There’s a lot to be said for her; her style, her red hair, her dark sensibility. Lots of things to love, but it’s all about one thing: that voice. A gift like that is rare enough, and to do something interesting with it is even rarer. Florence Welch is one of those once in a blue moon characters who come along complete with amazing talent, style, image, originality – someone with a  vision. It’s always very sad to hear someone who is technically a good singer who allows themselves to be molded into a generic pop star shape and has no concept of themselves as an artist. Then there’s Flo, who sings about reading fortunes in animal entrails, among many other morbid and occultish things. ‘Witchy woman’ is a pretty flaccid label, regularly applied to hippies of all shapes and Stevie Nicks, and hopefully Flo won’t fall headfirst into that stereotype. But there’s something witchy about her alright; a little witchy, a little Romantic, a little Bohemian, and just by virtue of denying contemporary reference points, contrarily modern.

Girl With One Eye

Now this is much more what jealous rage feels like. Florence Welch quickly became, in the last months of 2011, our resident MVP on the strength of her second album. On her first, she established herself with a song called Kiss With a Fist, and then this. Not one to be messed with, obviously, she’s got a morbid streak as red as her hair. I don’t know if she’s talking about a romantic rival or misbehaving lover, but the punishment she metes out is Biblical. What girl fantasizes about gouging out her enemy’s eye? And after that, what girl writes a song about it? I may know a few people who are unequivocally disgusted by acts of depravity, but for the rest of us, Florence speaks. About stabbing the eye out of the girl who made you cry. Evoking the Bible, and Shakespeare, and our own primal monkey need for revenge, she’s made an epic out of being evil. And makes it sound normal.

Dog Days Are Over

So happiness is like a bullet in the back… I think I see where this Florence is going. The video of her dancing in fur amid puffs of smoke is pointing the way. She going to be the pagan goddess for girls who want occultism and magic but can’t stomach the conformity of Hot Topic goths. Which I say as a compliment. Florence is dark without making darkness her image. She is dark and she is hopeful.

Breaking Down

A year ago I didn’t give Florence Welch  a second thought, and now I think she’s a new classic. I guess I’m just not the fastest gun in the west. But look at her. Look how beautiful she is and look at that dress she has on! And she brought a harp, for god’s sake. The thing is, when you can sing like that the world’s your oyster, if you want it. I was getting tired of songwritey chicks with wee little high-pitched girly voices, to say nothing of what’s in the charts. Although you have to admit some hit pop singers actually do have good voices, but with an unfortunate lack of any shred of good taste or creativity. I honestly kind of like Rihanna’s voice, but she’s the new Madonna (not Lady Gaga) – she sings of nothing but kinky sex, prances about in bondage outfits and thinks it’s somehow ‘empowering’. While the serious singer-songwriter types are just so twee, and indistinguishable. An interesting personality comes along so rarely. So the reaction when somebody who doesn’t suck becomes popular is incredulity followed by amazement.

Bedroom Hymns

“Like Enya mixed with Ophelia” I just read on a comment thread. I agree with the part about Ophelia. I can just see Florence Welch floating downstream with flowers in her hair. I noticed her image before I noticed her music. She has an out of time look. I would say Ophelia, or the Lady in the Lake. Florence has garnered some comparisons to Stevie Nicks too, mainly on the basis of liking billowy sleeves. Comparisons are a cheap measure of worth, anyway. Especially for someone who’s shown some self and originality in her image. The look isn’t worth much either if it’s not backed by some substance. In that department Florence delivers – her voice is an astounding instrument, and she’s already kicked a recognizable style into shape, with her love of powerful crescendos and cresting waves of sound.

All This And Heaven Too

Decided it’s time to catch up a little on new stuff that’s come out over the year, and maybe some other stuff I might’ve missed. More logically I should start this reviewing after the new year, but I don’t feel like waiting and it should take me until then. Then I’ll compile a best-of.

One of the new records I love this year is the new Florence & the Machine. I liked the first one alright, but it didn’t blow my socks off for some reason. The new Ceremonials does that with a vengeance. It’s epic. Since Lungs came out in 2009, I’ve become increasingly aware of Florence Welch. I’ve noticed that, with her red hair and carved jaw, she’s a dead ringer for Elizabeth Siddal. Which is only appropriate, because her music sounds exactly like what a Rossetti painting would if paintings came with a soundtrack. It’s pop music for Pre-Raphaelites, all lavishly romantic and heavy with dark symbolism. Welch has a thing for images of drowning, all consuming water, and ghosts. The better for an image of a post-modern pop Ophelia.