Album Review: Ceremonials -Florence + the Machine

In 2009, British songstress Florence Welch captivated music lovers with her soulful vocals and wonderfully theatrical songs. Florence + the Machine’ debut album, Lungs, went on to sell millions thanks to the commercial success of tracks like “Dog Days are Over” and “Cosmic Love.” Her sophomore effort, Ceremonials, is a sonic continuation of what makes Florence a true original and shows that she is a force to be reckoned with.

The album’s opener, “Only If For a Night” is a melodic feast of subtle harps and keys. Each track is a tale of love, whether it’s letting go of love or finding it. The theme is packaged in poetic lyrics and almost tribal drumming as each song unfolds itself. The released singles, “Shake It Out” and “What the Water Gave Me” represent the conceptual fight that runs throughout the whole record.

While Florence stuck with her unique sound and didn't give into whatever commerical success "Dog Days" had, there are new elements that show Ceremonials as a progressive growth. There are still theatrics, but there’s more of a soul undertone that is complimented by background vocals. The tracks “Lover to Lover” and "Spectrum" are reminiscent of gospel/soul songs from the ‘70s. Other tracks are true to now Florence + the Machine classics. “No Light, No Light” is similar to “Cosmic Love” while the dark ballad, “Seven Devils” seems like a sequel to “Heavy in Your Arms.”

The driving force that deems this record a true masterpiece is that Welch has completely embraced her lower register, giving the album a distinct, mature sound. Ceremonials is vocally and sonically stunning. Die-hard fans will appreciate the fact that she stayed true to herself and where she’s from instead of partnering with mega-pop producers like Dr. Luke or Timbaland. This latest effort shows that theatre and drama can be accessible and beautiful in contemporary music, and Welch proves that she’s that style’s queen. **10/10

Album Review: Mylo Xyloto -Coldplay

Since the late ‘90s, college kids and adult-alternative fans alike have turned to Coldplay for songs to help them get in touch with their deep, emotional side. Whether it’s a song with meaningful, somewhat melancholy lyrics that sounds like pop bliss or a piano-driven anthem, Coldplay has trascended leaps and bounds over their competition. With the upcoming release of their fifth, studio album Mylo Xyloto, Chris Martin and Co. remind their devoted fans why the love them and their critics why they don’t.

With a push in the “weird” direction, Mylo Xyloto balances its R&B influences with industrial rock overtones and quintessential piano jams. The album plays with the ideas of addiction and escape, heavy and light, fast and slow, love and hate. But while its predecessor Viva La Vida was clear in its concept, this album is muddled with Martin’s vocals often being outshined by the instrumentation and production distortions.

Irrelevant storyline aside, each song should be taken for what it is. Tracks like “Hurts Like Heaven,” “Don’t Let It Break Your Heart,” and “Paradise” are masterpieces within themselves. Each track is joyful, festival-ready, and embody a certain flare that has been a part of Coldplay’ aesthetic since the beginning. While these tracks are not completely disconnected from the sonic ideals of Viva La Vida, the obvious R&B, dance feel is fresh and exciting.

The album’s standout track is also its most peculiar. “Princess of China” features vocals from Rihanna, a pairing more unexpected than Coldplay’s pairing with producer, Brian Eno. As unnatural the feeling of these two artists finding a common ground, everything works. The cascading keys add an originality to the song when in contrast with the acoustic guitar. While it can be said that this song is the band’s attempt at a huge radio hit, it shouldn’t be tossed aside as just that. This track in particular shows growth and confidence (and still would even without Rihanna’s help).

While Coldplay diehards may be put off by the dance feel of many tracks, there are moments of classic Coldplay that remind the listener of greats such as “Yellow,” “Shiver,” and “The Scientist.” Chris Martin’s quintessential loveletter rears its head on the track “Us Against the World” and “Up With the Birds.” The piano remains gentle, complimentary Martin’s almost-raspy vocals and seminal falsetto.

As Mylo Xyloto appears to be pretty perfect, the “bore” and “pretentious” tags that have become assimilated with the band are still there. “U.F.O.” does its best to draw influences from U2, but fades into the background and the 3 track intermissions don’t add any musical merit or interest to the album as a whole. Also, the fact that the album has 14 tracks could be assumed that each song was “too important” to leave behind (and some could have been).

Shortcomings aside, Coldplay is who it is. The British entity has said that this could be their last record, let’s hope not. **8.2/10