Tag Archives: Florence Welch

Nothing’s Wrong Showcases Elza’s Enchanting Vocal Style

13 Oct

Close your eyes and be prepared to be taken away by Elza’s voice in her album Nothing’s Wrong. For those who enjoy listening to storytelling through music, specifically from female vocalists, add Elza to the list. Comparably speaking of vocalists in reference such as Feist, Florence Welch, and Alison Sudol, she finds a way to reflect and story tell within her music and take her listeners on the journey. Throughout the album, it waves between power ballads, marked by the heavy synth and drums and the softness of simple vocals and light instrumentals. Listeners will be surprised that her sound is pleasantly moody, leaving room for unexpected themes and vibes on the album. A standout track on the album, Swayed best exemplifies this auditory observation. It mixes a level of raw and rebel vibes in all the right ways. Everything is right about the words that make up this album and the voice and music that make it all possible.

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Top 10 Songs of 2011 – #9: “Breaking Down” by Florence and the Machine

21 Dec

Get ready for the show...

 
I’d say we got off to a pretty summery start to our top 10 countdown yesterday. If that doesn’t strike a memory chord for you, read the first of our top 10 songs of 2011 countdown here. Let’s not waste any more time with pleasantries and dive into #9.
 
#9: “Breaking Down” by Florence and the Machine
 
While I did mention that “Shake it Out” just missed our top 10 countdown, I said nothing about songs by Florence and the Machine (FTM) missing the countdown altogether. There are 11 more tracks to FTM’s Ceremonials, their second full-length LP that was released to positive reviews in late October. And one of those tracks happens to be a work of composed passion, a four-minute horripilating piece about loneliness and depression that takes on the heavy form of a climaxing soliloquy in a Shakespearean work. Okay, that may be a bit of an over-exaggeration, but the song moves away from traditional FTM and into mature, epic proportions.
 

Most people know of Florence and the Machine because of their rapid 2009 rise to the top of the charts. Florence Welch, lead singer of the band of her creation, is quite a renaissance vocalist. This is partly why I mentioned Shakespeare before. Her mother is a Harvard-educated Professor of Renaissance Studies and Academic Dean of Arts at Queen Mary, University of London. She did acquire an appreciate for art…and a rangy, bluesy, soul-seeking croon that can tackle ballads and fast-paced rock hits. Welch experienced a meteoric rise to popularity, understandably, and has suffered from depression – a genetic disposition – which acts as a muse for this particular piece. She has also become quite a fashion icon for female performers known for long, flowing gowns and untraditional dress. She describes it as, “Lady of Shalott meets Ophelia … mixed with scary gothic bat lady.” Hence the Shakespeare reference and, for that matter, Tennyson!

Lungs, FTM’s first release, was a gigantic success. Ceremonials, their follow-up, will most likely develop into more of a success as the band supports the album with a tour and the album matures on iPod playlists. While “Breaking Down” was not released as a single – and I understand why a piece that may not be accessible to all would not be a single – it is definitely the most interesting on the album. It is also the number nine song of the year. Perhaps if I had a little more time with it, it may have shot up our charts as well. But for now it’s number nine and here it is.

Now, before I begin the analysis, let me just say that I understand that Florence and the Machine do experiment with an Indie/Baroque pop flavoring, so the play on classical instrumentation and complete-song crescendo should not be surprising. But I do believe that this song represents something far beyond a sprinkle of seasoning. This is a true baroque/art masterpiece and I’m glad that Florence is bringing musical art back into the mainstream. Well, the semi-mainstream I guess. I also want to give a credit to the sort-of unknown soldier in FTM – Isabella Summers – who along with playing keyboards, provides invaluable programming support.

The drums carry a moderate beat that immediately backs up a keyboard’s twangy echo playing a spacey riff and a whole bunch of mood-setting strings. Florence’s vocal control is extraordinary in every sense of that word. It is abnormally succesful. She is able to evoke emotion and passion while remaining composed. She has proven to us time and time again that she can belt it, but she waits. She builds the scene. She sets the stage, in other words. She personifies her depression (at least that’s what I take the foreboding, creeping presence as) and describes how it nears her and touches her.

Rising strings lead to a chorus of whispery ohs, a part that are both frightening and strangely welcoming. But before we can find ourselves comfortable, it jumps back to the verse that features an even more quiet Florence, as if she is singing in her room, in the dark, by herself, waiting for whatever’s coming to get her.

Towards the end of the song you can sense a climax and the lyrics hint to it. The force penetrates her and for a brief moment Florence belts out the lyric “breaking down” but then falls back to a lull, not a monotone, but a lull.

This is a perfect example of vocal precision, passion, and productivity. The three P’s to a good vocal performance. She has a message, displays it well, and does so with such force and delivery that the listener is left in awe. A vocal masterstroke. I’d love to hear more like this!

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