Story time. I was listening to a Florence playlist on my run yesterday evening and when I got to this area full of trees, Howl came on. When I looked up I saw what appeared to be little black birds flying back and forth between the trees in sync with the synths in the song. The fact that it was getting dark made it all more ominous but something about all those things coming together made Howl sound incredible. I was so bummed when the song ended. Now I wish I had given Howl a slightly higher score. Those birds must have been a sign that Howl's elimination was nigh.
Dog Days Are Over: The Florence + the Machine Discography Rate (And the winner is...)
- Thread starter Fortune
- Start date
People coming for No Light No Light before top 3 is an abomination.
15.
You girls really make this too easy. (Also, sis, if you want something to be Top 3 you don't give it a 9 when you gave so many other things 10s.)
No Light, No Light - 8.705
High: 10 x 14 - @Can't Speak French, @Vixen, @marie_05, @2014, @munro, @Kuhleezi, @enjoy, @Reboot, @Terminus, @constantino, @Deja-Boo, @Runawaywithme, @Animalia, @Claudette's Carving Knife
Low: 6.5 x 1 - @Push
The next song to fall from Ceremonials is its second single. Of all the songs on the leaderboard between 10th and 20th, No Light No Light was the one that soared the highest, getting as far as 6th place before tumbling down to the fringes of the Top 15. This is the first song that was written for Ceremonials, at 4am on the tour bus whilst travelling to Amsterdam, after having gone to an all-night bar in Brussels to celebrate guitarist Rob Ackroyd’s birthday. When they arrived at 7am, they wanted to toast the song, and managed to find a sports bar that would only serve bright-green Midori. The droney bass-y sound at the beginning is the sound of the bus moving. Florence has explained how with songs like this she remembers how her favourite musicians performed when she was younger, and wants to create the same sense of an exorcism with the rhythm and chanting and aggression, rather than melodic smoothness. I find everything about this breathtaking, I get completely swept up in the drama of it all and I think it works marvellously. It’s one of the better conventional ‘big’ songs on the album. It was awarded Time’s Song of 2011, with Adele’s Rolling in the Deep coming in 2nd.
The song’s music video, directed by Icelandic duo Arni and Kinski, is infamous for some imagery that is rather racially and religiously insensitive, leading to an Internet controversy. The video led to her being asked whether she was actually a member of the Illuminati during an interview with MTV.
Some of y’all mentioned the video. Sprockrooster is “still a bit screaming about the illuminati-allegations this video triggered.” Squashua calls it a “weird choice of a second single not helped by the black-face voodoo mini-backlash of the video. Always found it overblown without their usual flair or depth of imagery. The whole ‘You want a revelation?' call to arms bridge is definitely the best bit.” That bit gives me chills. Pinkieshy asks us “was this swept under the carpet after the racism/Illuminati stuff about the video? A song I never really listen to, despite being pretty good, and the bridge/outro is amazing.” I mean, the video came out in 2011, and in 2012 she pulled it out at the BRITs and on Jonathan Ross and The Voice, so I don’t think they really cared that much. It’s definitely not a setlist staple, only getting a handful of outings per year, and maybe the video stuff worked against it when trying to create a live set that incorporates a ton of songs that everyone will love, but meh.
Book Jockey says that “an inferior Howl is still worth a 9...” but looks like the public disagree with you. I can’t really hear any musical similarities. Remyky22 equally concedes that “it's a very good song, but it was never one of my favorites.” Oleander notes that “the sparse and delicate intro is lovely. The chorus makes you want to clap and sing along. It's a bit middle-of-the-road, but definitely a step up from Lover To Lover.” It’s definitely a step up from the vast majority of what’s been eliminated so far. . Plethorya thinks it’s overrated too, “The intro goes too fast not to make the verses a letdown, the reverb makes her vocal muddier than it should be, but ultimately I can’t be that mad about this high drama.”
2014’s been left breathless, “That performance at the BRITs of this - wow! Amazing song, probably her biggest sounding - literally everything and the kitchen sink is this somehow, it’s incredible!” I think that this one of the biggest songs that pulls off being big successfully, after all Breath of Life goes bigger and that’s a disaster. For Runawaywithme, this is “the song that first made me fall in love with Florence, I could go on forever about how much I love this song but the best way I can sum it up is that when I listen to it feels like the beast locked deep inside my chest has been let free.”
Constantino’s pussy is popping yet again, sis is gonna have to lock that thing down so it doesn’t fly off all together, “Another one of my favourites. I can and will never get bored of a soft to pussy-pounding transition (I stan Roman Reloaded, after all) and this pulls it off so flawlessly (c’mon ascending harp). Drummer Florence returned with a vengeance and Ellie Goulding was SHOOK. The chorus is MASSIVE the FUCKING final pre-chorus finishes me off.” Ellie Goulding running off to bang on the drums during her live performances always seems like such a non sequitur.
We’ll leave it with Kuhleezi, who just says “I'll let the performances speak for themselves.”
Spellbinding.
And I suppose we should also showcase the music video:
You girls really make this too easy. (Also, sis, if you want something to be Top 3 you don't give it a 9 when you gave so many other things 10s.)
No Light, No Light - 8.705
High: 10 x 14 - @Can't Speak French, @Vixen, @marie_05, @2014, @munro, @Kuhleezi, @enjoy, @Reboot, @Terminus, @constantino, @Deja-Boo, @Runawaywithme, @Animalia, @Claudette's Carving Knife
Low: 6.5 x 1 - @Push
The next song to fall from Ceremonials is its second single. Of all the songs on the leaderboard between 10th and 20th, No Light No Light was the one that soared the highest, getting as far as 6th place before tumbling down to the fringes of the Top 15. This is the first song that was written for Ceremonials, at 4am on the tour bus whilst travelling to Amsterdam, after having gone to an all-night bar in Brussels to celebrate guitarist Rob Ackroyd’s birthday. When they arrived at 7am, they wanted to toast the song, and managed to find a sports bar that would only serve bright-green Midori. The droney bass-y sound at the beginning is the sound of the bus moving. Florence has explained how with songs like this she remembers how her favourite musicians performed when she was younger, and wants to create the same sense of an exorcism with the rhythm and chanting and aggression, rather than melodic smoothness. I find everything about this breathtaking, I get completely swept up in the drama of it all and I think it works marvellously. It’s one of the better conventional ‘big’ songs on the album. It was awarded Time’s Song of 2011, with Adele’s Rolling in the Deep coming in 2nd.
The song’s music video, directed by Icelandic duo Arni and Kinski, is infamous for some imagery that is rather racially and religiously insensitive, leading to an Internet controversy. The video led to her being asked whether she was actually a member of the Illuminati during an interview with MTV.
Some of y’all mentioned the video. Sprockrooster is “still a bit screaming about the illuminati-allegations this video triggered.” Squashua calls it a “weird choice of a second single not helped by the black-face voodoo mini-backlash of the video. Always found it overblown without their usual flair or depth of imagery. The whole ‘You want a revelation?' call to arms bridge is definitely the best bit.” That bit gives me chills. Pinkieshy asks us “was this swept under the carpet after the racism/Illuminati stuff about the video? A song I never really listen to, despite being pretty good, and the bridge/outro is amazing.” I mean, the video came out in 2011, and in 2012 she pulled it out at the BRITs and on Jonathan Ross and The Voice, so I don’t think they really cared that much. It’s definitely not a setlist staple, only getting a handful of outings per year, and maybe the video stuff worked against it when trying to create a live set that incorporates a ton of songs that everyone will love, but meh.
Book Jockey says that “an inferior Howl is still worth a 9...” but looks like the public disagree with you. I can’t really hear any musical similarities. Remyky22 equally concedes that “it's a very good song, but it was never one of my favorites.” Oleander notes that “the sparse and delicate intro is lovely. The chorus makes you want to clap and sing along. It's a bit middle-of-the-road, but definitely a step up from Lover To Lover.” It’s definitely a step up from the vast majority of what’s been eliminated so far. . Plethorya thinks it’s overrated too, “The intro goes too fast not to make the verses a letdown, the reverb makes her vocal muddier than it should be, but ultimately I can’t be that mad about this high drama.”
2014’s been left breathless, “That performance at the BRITs of this - wow! Amazing song, probably her biggest sounding - literally everything and the kitchen sink is this somehow, it’s incredible!” I think that this one of the biggest songs that pulls off being big successfully, after all Breath of Life goes bigger and that’s a disaster. For Runawaywithme, this is “the song that first made me fall in love with Florence, I could go on forever about how much I love this song but the best way I can sum it up is that when I listen to it feels like the beast locked deep inside my chest has been let free.”
Constantino’s pussy is popping yet again, sis is gonna have to lock that thing down so it doesn’t fly off all together, “Another one of my favourites. I can and will never get bored of a soft to pussy-pounding transition (I stan Roman Reloaded, after all) and this pulls it off so flawlessly (c’mon ascending harp). Drummer Florence returned with a vengeance and Ellie Goulding was SHOOK. The chorus is MASSIVE the FUCKING final pre-chorus finishes me off.” Ellie Goulding running off to bang on the drums during her live performances always seems like such a non sequitur.
We’ll leave it with Kuhleezi, who just says “I'll let the performances speak for themselves.”
Spellbinding.
And I suppose we should also showcase the music video:
Tragic me. There are just too much songs I want in the top 10 I guess.
D
Deleted member 11565
Ah, I was on a remote Pacific island when all this was happening.
F
Former member 21294
Not my tens getting slaughtered again and again.
D
Deleted member 11565
Wait at all my 10s taking up half of what's left.
@Can't Speak French you can use this to break my heart and eliminate one of them next.
@Can't Speak French you can use this to break my heart and eliminate one of them next.
No Light is brilliant but I can see why people prefer Ship To Wreck. I feel Ceremonials is so heavy in terms of big vocally driven tracks that it can all merge a bit. Spectrum and No Light feel very similar whereas Ship to Wreck has this euphoric sense to it and stands out from a lot of her other tracks.
14.
As you asked, so you shall receive.
Ship to Wreck - 8.714
High: 10 x 12 - @Plethorya, @munro, @TR, @Remyky22, @Terminus, @A$AP Robbie, @aaronhansome, @Oleander, @Claudette's Carving Knife, @Petty Mayonnaise, @Push, @Robsolete
Low: 5.5 x 1 – @Kuhleezi
How Big, How Blue, How Beautiful sheds another single. This was released in April 2015 in the lead up to the album release. Ship to Wreck is the one song on the album featuring lyrics about water, as Markus Dravs declared a moratorium on it and related topics, but Florence managed to persuade him to allow her to include it. It was inspired by a drunken party leading to self-destructive behaviour and saying ‘I love you’ to someone a little too soon. Florence thought about how those sorts of situations always lead to breaking the thing you value most. This is an odd one in the context of her discography, as it launches right in at 100 rather than building up, and this makes it especially odd in the context of her most nuanced album yet where most of the songs have a lot more light and shade to them rather than just pure power. It was nominated for best Pop Duo/Group Performance at this year's Grammys, but lost to Uptown Funk.
It’s fun and I get quite into it when I'm listening, but I think I overscored it and I wouldn’t have minded if it left sooner than this. At one point in voting this was the track that crashed out at 21st, and whilst I think that may have been mildly surprising for people, I don’t think anyone would've been too upset by it.
The video for Ship to Wreck is Chapter 4 of the Odyssey, and was recorded in Florence's own home, meaning that you can see her killer wardrobe. It depicts her tumultuous relationship with both her love interest and herself, and features a whole lot of destructive impulse being unleashed. It's probably the most straightforward visual treatment in the Odyssey. It was nominated for Best Rock Video at the 2015 VMAs, but lost to Fall Out Boy's Uma Thurman.
This gets Oleander high on life, “Such a killer opener. I start singing this at the most random times and end up all giddy.” A$AP Robbie is a kindred spirit, “singing to this is one of the great joys in my life.” You two should have babies and get matching outfits. Plethorya calls it “self-immolation set to a killer beat.” Sprockrooster particularly loves “how depressing and uplifting this sounds at the same time.” She certainly knows how to convey self-destruction and make it sound like the world is literally crumbling around her.
Remyky22 says that “it was one of my favorites since my very first listen and the first HBHBHB song I properly fell in love with. It is a typical Florence song, but done masterfully, with a great melody and lyrics, and the breakdown is done masterfully.” Oh yeah, you don’t like What Kind of Man, do you? Poor you. Push stans hard, “the 10 is worth it even if just for the middle 8. But everything else's perfection, to be honest, it's just a quality track.” Good God! The middle-eight is the most memorable bit, to be honest, after the obvious ‘WREEEEEEEECK’. AllGagaLike links that bit to a video game, “A bop and a half but I can't unhear "DREEEEEK". Ratchet & Clank, their impact.” Subwaykid calls it “a bit shrieky.” Just a bit.
“It grew on me after seeing it live,” says Pinkieshy, giving us a little bit of optimism, “But it’s still not one of my favourites on the album.” Fair. 2014 thinks it’s basic in the best way, “A basic Flo banger, quite a misleading opener to the album if I’m honest but it’s good in its own right.” But for Kuhleezi, it’s basic for all the wrong reasons, “Florence + the Machine at their most basic. This could have been released literally by every other (indie) pop/rock band in the industry (at least we have the 100% Florence lyrics). Added points for: that note in the last chorus; Subtracted points for: that fucking awful, verging-into-self-parody "choir". I expect so much more from the Queen of Lil Choirs.” Go in.
constantino doesn’t care about the criticisms, something something kaftans, “YAS FLO! Live your Fleetwood/Stevie Nicks fantasy! I’m with you sis! Lyrically it shows how her songwriting has matured over the years and it all feels very ~organic~. The instrumentation is spot on too, I love me some jingle-jangle guitars.” #realmusic. Honestly, I feel like this is probably the least shining example of her songwriting on the album, considering that the whole ship/water thing was like total comfort zone for her. It's still very well-written, of course. But Squashua loves the jingle-jangle guitars too, “Any song that features 70's surf guitar alongside references to killer whales and sleeping on the ocean floor and a sizeable amount of punk (that "UGH” for one) is a solid 9 in my book. Docked some pointage for the slight wailing (no pun intended) on the chorus.”
As you asked, so you shall receive.
Ship to Wreck - 8.714
High: 10 x 12 - @Plethorya, @munro, @TR, @Remyky22, @Terminus, @A$AP Robbie, @aaronhansome, @Oleander, @Claudette's Carving Knife, @Petty Mayonnaise, @Push, @Robsolete
Low: 5.5 x 1 – @Kuhleezi
How Big, How Blue, How Beautiful sheds another single. This was released in April 2015 in the lead up to the album release. Ship to Wreck is the one song on the album featuring lyrics about water, as Markus Dravs declared a moratorium on it and related topics, but Florence managed to persuade him to allow her to include it. It was inspired by a drunken party leading to self-destructive behaviour and saying ‘I love you’ to someone a little too soon. Florence thought about how those sorts of situations always lead to breaking the thing you value most. This is an odd one in the context of her discography, as it launches right in at 100 rather than building up, and this makes it especially odd in the context of her most nuanced album yet where most of the songs have a lot more light and shade to them rather than just pure power. It was nominated for best Pop Duo/Group Performance at this year's Grammys, but lost to Uptown Funk.
It’s fun and I get quite into it when I'm listening, but I think I overscored it and I wouldn’t have minded if it left sooner than this. At one point in voting this was the track that crashed out at 21st, and whilst I think that may have been mildly surprising for people, I don’t think anyone would've been too upset by it.
The video for Ship to Wreck is Chapter 4 of the Odyssey, and was recorded in Florence's own home, meaning that you can see her killer wardrobe. It depicts her tumultuous relationship with both her love interest and herself, and features a whole lot of destructive impulse being unleashed. It's probably the most straightforward visual treatment in the Odyssey. It was nominated for Best Rock Video at the 2015 VMAs, but lost to Fall Out Boy's Uma Thurman.
This gets Oleander high on life, “Such a killer opener. I start singing this at the most random times and end up all giddy.” A$AP Robbie is a kindred spirit, “singing to this is one of the great joys in my life.” You two should have babies and get matching outfits. Plethorya calls it “self-immolation set to a killer beat.” Sprockrooster particularly loves “how depressing and uplifting this sounds at the same time.” She certainly knows how to convey self-destruction and make it sound like the world is literally crumbling around her.
Remyky22 says that “it was one of my favorites since my very first listen and the first HBHBHB song I properly fell in love with. It is a typical Florence song, but done masterfully, with a great melody and lyrics, and the breakdown is done masterfully.” Oh yeah, you don’t like What Kind of Man, do you? Poor you. Push stans hard, “the 10 is worth it even if just for the middle 8. But everything else's perfection, to be honest, it's just a quality track.” Good God! The middle-eight is the most memorable bit, to be honest, after the obvious ‘WREEEEEEEECK’. AllGagaLike links that bit to a video game, “A bop and a half but I can't unhear "DREEEEEK". Ratchet & Clank, their impact.” Subwaykid calls it “a bit shrieky.” Just a bit.
“It grew on me after seeing it live,” says Pinkieshy, giving us a little bit of optimism, “But it’s still not one of my favourites on the album.” Fair. 2014 thinks it’s basic in the best way, “A basic Flo banger, quite a misleading opener to the album if I’m honest but it’s good in its own right.” But for Kuhleezi, it’s basic for all the wrong reasons, “Florence + the Machine at their most basic. This could have been released literally by every other (indie) pop/rock band in the industry (at least we have the 100% Florence lyrics). Added points for: that note in the last chorus; Subtracted points for: that fucking awful, verging-into-self-parody "choir". I expect so much more from the Queen of Lil Choirs.” Go in.
constantino doesn’t care about the criticisms, something something kaftans, “YAS FLO! Live your Fleetwood/Stevie Nicks fantasy! I’m with you sis! Lyrically it shows how her songwriting has matured over the years and it all feels very ~organic~. The instrumentation is spot on too, I love me some jingle-jangle guitars.” #realmusic. Honestly, I feel like this is probably the least shining example of her songwriting on the album, considering that the whole ship/water thing was like total comfort zone for her. It's still very well-written, of course. But Squashua loves the jingle-jangle guitars too, “Any song that features 70's surf guitar alongside references to killer whales and sleeping on the ocean floor and a sizeable amount of punk (that "UGH” for one) is a solid 9 in my book. Docked some pointage for the slight wailing (no pun intended) on the chorus.”
Any/All
If it's my 11 I don't know what I'll do.