HBHBHB- Definitely Big, Certainly Sad and Undeniably Beautiful.

Music Review- Florence and the Machine- How Big, How Blue, How Beautiful (2015)

Known for her bombast, Florence and the Machine's How Big, How Blue, How Beautiful turns it up to eleven with their biggest choruses and rockiest production to date. However, the album is also the subtlest they have been with a handful of tracks that strip everything back and let you admire Flo's beautiful voice and lyrics. Because of this selection of extremes, the album is a peculiar listen going from high highs to low lows and back and forth. It is their least consistent album to date, but there is certainly a number of exciting gems to play on repeat.

The opening one two punch are strong, fiery and in your face rock gems, but from there the album is unexpectedly patchy. It is clear that Florence is best when her production is loud and the songs are big as it is usually the softer tracks that weigh this album down. Though the lyrics are stronger narratively on the slower tracks, they forget that an excellent song needs both a narrative and a catchy hook: often the slow tracks resemble poetry rather than a song. But, the others certainly make up for it as their hooks are some of the best she has written. It should be commended the range of skills and tones displayed on this album, though ultimately it makes for a rollercoaster of a listen.

The lyrics aid the consistency of the album as there is a flowing narrative putting a microscope on Florence's destructive relationship and each track is elevated by the context of the tracks that come before it. However, some tracks can feel like retreads of themes gone before it and relies on the production to dress it up differently. It is interesting though to see Welch peel back at problems in her relationships as her painful honesty is brutal. For the most part, each song takes a distinct interpretation on who is at fault in the relationship and explores it to dramatic effect. Welch is and has always been the master of taking everyday experiences and making them into a religious spectacle of dramatic proportions.

The album has a lot of tracks to love and some that show a side to the band that hasn't been seen before. It is another quality album to add to their collection, but not one of their best pieces of work. It definitely encompasses its title well as it is definitely big, most certainly sad and undeniably beautiful.

Album Review- 7/10

Track By Track Breakdown:

Ship to Wreck- One of Welch's biggest choruses to date, you will be singing along to this mighty hook. With enough water iconography to please any sea dweller, the opening track relays Florence's more destructive side as she comes to term with the fact she is her own worst enemy. The lyrics are filled with introspection and mighty metaphors that offer an interesting perspective on the subject at hand; many of the lines will have listeners stopping and thinking about how beautifully and poetically Welch has captured something so destructive. But, any idea of stopping and thinking is thrown to the wind when the chorus hits as Welch's ferocious vocals will bounce you to your feet and throw you around your room. Matched with a lively production, Welch will have you moving to this massive track. It is big, it is bombastic and it is oh so Florence and the Machine. (9)

What Kind of Man- With the bands most ballsy and in your face production to date, the tracks guitars will rip you from your seat and get your fist pumping in the air. It is the most straight rock the band has ever been and it is glorious. Welch's fiery delivery matched with the punchy production makes this track electric and definitely a stand out song. The multi-layering of the deep pitched vocal underneath Flo in the opening is a gorgeous detail that works amazingly with the narrative and gives the track a haunting vibe. It is loud and it is proud, but it is the detailed decisions that make this track next level. The lyrics continue Ship to Wreck's beautiful introspection as Flo wonders why she keeps coming back to this man that is not good for her, but unlike the opening track where the blame is firmly on herself, this song explores how an indecisive partner can mess with someone who is willing to jump in with two feet. It is painful and Flo's delivery gives it the conviction to make it hit. (9)

How Big, How Blue, How Beautiful- To go from the frantic and larger than life What Kind of Man to this sombre track is quite the come down. Only the brash horns and brass sections prevent the track from coming to a complete halt, but at over five minutes and thirty seconds it is quite the pit stop. There are some really pleasant moments found in Welch's delivery and twinkles in the production, but they are fleeting in an overbearingly mediocre track. The song is not pretty enough to stand shoulder to shoulder with other Welch ballads or tracks with a slower tempo. In addition, the lyrics are not as introspective or as exciting as the other tracks on the album. So, there is little to come back to. The only saving grace is around the four minute mark where Welch makes some gorgeous high notes as the trumpets start to swell and the track reaches some grandeur that it had attempted but failed in earlier parts of the track. (4)

Queen of Peace- Opening with a gorgeous selection of strings that are met with bombastic percussion, the production captures the beauty and drama of riding horseback into a battle. With a medieval feeling to it as Flo discusses kings, queens and fortresses you could imagine this being the soundtrack to a dramatic TV battle found on programmes like Game of Thrones. The lyrics denote how relationships and arguments are not always won or lost, but often a mix of the two as victories are bitter-sweet. The drama is high octane and it is credit to both the production and the lyrics for keeping it at that high level for the whole track as at over five minutes it is a lot of time to fill. But, this leads the song to be a tad cumbersome and overbearing. The hook isn't as catchy as other tracks, so you have to get lost in the drama and lyrics to enjoy the song which can be a bit tiresome on multiple listens. (7)

Various Storms and Saints- I believe the difference between poetry and pop lyrics is the fact that a pop song will have a strong and catchy hook that gets listeners coming back, whereas poetry doesn't need that hook structure and instead has a narrative focus that is to be enjoyed through sitting and reflecting on the words; an excellently written song in my opinion needs to find a marriage between a well crafted hook and a well crafted narrative as to forget one will cause the song to either be low brow uninteresting pop or not a song at all. Though Various Storms and Saints has an excellent narrative and lyrics that resemble poetry, it lacks the hook structure that I believe is needed for a good song. It is the type of track I would prefer to have written in front of me and to analyse. It is okay to believe that some lyrics work better as poetry than in a song. The atmospheric production and Flo's beautiful delivery adds a layer of drama and a haunting ambience that is well crafted, but both their tame and sombre tones don't give the lyrics enough life to warrant it to be a song rather than poetry. (5)

Delilah- The opening dialogue between the two Flo's, one trying to live her life and the other the voice in her head that is waiting for her lovers reply, is relatable and a painful showcase of modern day relationships. The production has similarities to her Dogs Days are Over track and the bombastic nature feels like it would be home on her debut album Lungs. It is a slice of good old fashioned Florence and the Machine with religious imagery elevating the day to day experience of waiting for a reply. But, this is Welch's skill: capturing everyday life in the drama that it can often feel. We can often get consumed by trivial things and it feels like our world, and this song will certainly consume you as the danceable production and spunky delivery will have you moving and blasted into Welch's dramatic world. It is an excellent track that if the chorus was only the tiniest bit more catchy it would be perfect. (8)

Long and Lost- Through ninety percent of the album Florence discusses how problematic her relationship is and evaluates how she and her lover have both caused problems in ruining it. Long and Lost is a difficult listen as Welch wonders whether she should go back to her man. It is a raw three minutes as she lays bare how she feels like nothing without her lover and though it hurt to be with him she wishes to go back as it hurt less than being alone. Again, this track is exceedingly relatable and painful as after time has passed many people forget the pain and suffering relationships have caused therefore they long to go back. The chilling production and Flo's softer vocals add weight to her words and leaves her rawness on show. However, in both the production and the vocals there seems to be a layer of perfect gloss that if removed the song would be more vulnerable; the song feels too tight and could do with being a bit more unhinged and desperate. Flo is holding back in places where a voice crack would be a gut punch to the listener. The guitars, though gorgeous, are meticulous and clean where a bit of sporadic dirt and grit would have caused the lyrics to come a light. It is a decent sombre track, but with the context of the rest of the album it could have been so much more. (7)

Caught- Some of Florence's most underrated vocals as she uses her softer coo to full effect in this track. Her vocals are elevated by the multi-layering of voices and Oohs that give the track a full and rounded sound. Sadly, the lyrics are a retread of the themes discussed in What kind of Man, Delilah and Long and Lost where all three offer a more distinct and original take on being in love with someone who is not good for you. Other than delightful vocals the track offers nothing new as it is not as powerful, heart wrenching or dancable as the other tracks and just sits as a mediocre middle ground. (5)

Third Eye- With a victorious outro that you will be screaming from the top of your lungs, Flo serves a refreshing slice of positivity that is deep and oh so joyous. It is the perfect match between catchy hook and endearing narrative as the lyrics tell of Flo trying to support a friend who is not ready to express their hurt and how she will always be there when her friend needs as she is ''that original lifeline''. The thumping beat and clap production keeps the track moving and makes it full of life that is ready to dance to. The ukulele is a surprising but effective choice that gives the song a distinct sound and a lighter feel as without it the repetition could have left the song feeling heavy and overbearing. The pounding and euphoric chorus is perfect anthem ready pop and is ready to be put on repeat. (10)

St Jude- ''Maybe I've always been more comfortable in chaos''- ouch! Tying together all the songs that came before it, St Jude is the most haunting track as Welch goes through heavy introspection and reckons with the beasts she discussed on previous songs; it is a track that is elevated from listening to the whole album as the chaos from previous tracks is stripped back to reveal this lost and vulnerable women who just wants to be loved. It is beautiful and heart wrenching. Though the track is painful through its sobering honesty, the end, though broken, gives a sense of hope that she needed to go through all of this to be able to move on: as they say it has to get worse to get better. The delicate production is raw enough to let Flo's breathtaking delivery have the knock out punch it needs as well as letting you get lost in the beauty of the track. It is gorgeous. (8)

Mother- After Flo learns to leave the chaos through St Jude, Mother has her get drowned out by an over produced mess. The best thing about this track is the fact it is hidden right at the back of the tracklist. At nearly six minutes, no lyrical weight, no interesting vocals and a production that is completely out of place on the album, the ending track does not have many redeeming features. To say 'no interesting vocals' is actually over selling it as at parts Flo's delivery is grating, scratchy and leans on irritating; it's probably a good thing that the guitars drown her out for a good portion of the song. But, saying that, they're no better as the cacophony of synths, guitars and sounds of metal are not pleasing to the ear. This is not one to return to, nor to finish the first listen. (1)