Just when you thought it couldn\u2019t get any better, THIS happens: a retro-inspired masterpiece, from its classic and elegant black and white cover design to what is perhaps the most mainstream-sounding music Florence Welch and her Machine have attempted thus far. There\u2019s still no lyric sheet, which is somewhat disappointing (especially when trying to decipher the words for \u201cMother\u201d and the erratic bonus track \u201cWhich Witch,\u201d which is chockfull of crazed vocals), especially considering the bulk of the credit booklet. But with the photos, even the packaging is something to marvel at.<\/p>\n
We open with a blast of glorious sound for the new single, \u201cShip To Wreck,\u201d and it\u2019s clear from the get-go that Florence\u2019s voice seems even more assured this time around, especially on the chorus lines: \u201cDid I drink too much, am I losing touch, did I build this ship to wreck\u2026\u201d Next up is the brilliant lead-off single, \u201cWhat Kind Of Man,\u201d featuring the now-expected slow opening before giving way to piercing electric guitar stabs, booming bass drums, and blaring horns. It all adds up to a kind of primal urgency that make this one a lovelorn feminist anthem for the ages. And does anybody else notice that Flo\u2019s pronunciation of the word \u201cthis\u201d sounds just like \u201cthese\u201d? Remember Eurythmics\u2019 \u201cSweet Dreams (Are Made Of This)\u201d? One thing this album proves is that everything old is brand spanking new again.<\/p>\n
If you\u2019re expecting the sound of harp anywhere on How Big<\/i>, you\u2019ll be sadly disappointed (even though the big bass drum is still there in spades). Personally, I am more than thrilled that they\u2019ve substituted a horn section. It really does capitalize on building the band\u2019s sound up a notch even higher. One listen to a track like the Dylan-esque \u201cCaught\u201d will make you realize just how much we\u2019ve been missing music like this. Kudos to them for bringing us right back to the 1970s. The title track is another clear example of this, totally reminiscent of \u201870s era Fleetwood Mac. Combined with those horns, it\u2019s pure gold.<\/p>\n
The overlapping lyrical interplay on \u201cThird Eye\u201d is something fresh and unique, with dueling lines like, \u201cThere\u2019s a hole where your heart lies,\u201d \u201cYour original lifeline\u201d and \u201cI\u2019m the same, I\u2019m the same, I\u2019m trying to change,\u201d which all shed light on today\u2019s deteriorating human condition. What sets this album apart from the two previous is indeed the writing. \u201cI\u2019m most comfortable in chaos\u201d on \u201cSt. Jude,\u201d sets the haunting tone this act has mastered so artfully this decade.<\/p>\n
It\u2019s also refreshing to hear more upbeat material, like the transcendent \u201cQueen Of Peace\u201d and \u201cDelilah,\u201d which builds to a fiery crescendo. Sandwiched in between these two cruise missiles is \u201cVarious Storms & Saints.\u201d This song stands by itself in a spotlight all its own, with mournful guitar and languid vocals all contributing to its stark beauty. And truer words were never sung: \u201cHold on to your heart, don\u2019t give it away.\u201d Even a brief, quiet respite like \u201cLong & Lost\u201d shouldn\u2019t be forgotten or lost in the shuffle. Somewhat surprisingly, the additional tunes contained on the Deluxe version are something of an afterthought. But hey, does perfection really need any bonus tracks?<\/p>\n","protected":false},"author":57,"featured_media":32410,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[8429],"rating":[5646],"class_list":["post-44169","review","type-review","status-publish","has-post-thumbnail","artist-florence-the-machine","rating-rating-a"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/44169","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/57"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=44169"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/44169\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/32410"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=44169"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=44169"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=44169"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}