Florence + The Machine, High as Hope | Album Review

Alternative darlings Florence + The Machine delivers an enjoyable, impressive, and well-rounded fourth studio album with ‘High as Hope.’

Following a three-year hiatus, Florence + The Machine are back! In 2015, Florence Welch and company compelled with “What Kind of Man”, arguably the crowning achievement from their third LP, How Big, How Blue, How Beautiful.  After releasing singles “Sky Full of Song”, “Hunger”, and “Big God”, the collective’s fourth album, High as Hope finally arrives.  All in all, the results stellar.

“June” 

“In those heavy days in June / When love became an act of defiance.” “June” commences High as Hope rather enigmatically and slowly.  Eventually, intensity and tempo increase, with stability establishing. “June” develops into a soulful opening statement, with Florence Welch delivering her signature, high-flying lead vocals, not to mention those distinct, gorgeous backing vocals, amplified by reverb.

On “Hunger”, the robustness of Welch’s voice shines, packing a sizable punch by the ‘hungry’ chorus. Other selling points include magnificent production fusing vintage pop, soul, and ‘alternativeness.’  In addition to awesome instrumentation and orchestration, backing vocals continue to propel the lead to soaring heights.  The songwriting is integral to the record’s success with Welch’s ‘hunger’ being love. She begins the record reminiscing on her teenage years.

“At seventeen, I started to starve myself
I thought that love was a kind of emptiness
And at least I understood then the hunger I felt
And I didn’t have to call it loneliness.”

On “South London Forever,” Welch also reminisces back to her younger days.  “When I go home alone / I drive past the place where I was born,” she sings on the first verse, continuing, “Young and drunk and stumbling in the street.” All in all, the record is pretty straightforward, with Welch retaining her gift for all things dramatic and expressive. 

“Big God”

“You need a big God / Big enough to hold your love.”  On “Big God”, Florence Welch struggles in the aftermath of being ‘ghosted’ in her relationship. “I still like you the most / You’ll always be my favorite ghost,” she sings at the end of the first verse. The brilliant single makes ample spiritual references, but the big picture isn’t about God.  No, Welch is focused on being fulfilled by love, likening fulfillment to something the size of a higher power.  After commencing with minimal production, by the song’s outro, horns and strings expand the sound.

“Sky Full of Song”  begins instantly with Welch’s vocals – always a blessing. Gradually, the instrumentation fills in, expanding the production, but never ‘stealing her thunder.’ In addition to the instrumentation, haunting background vocals further amplify her commanding lead.  She’s at her most dynamic and robust on the chorus: “Hold me down, I’m so tired now / Aim your arrow at the sky / Take me down, I’m too tired now / Leave me where I lie.” “Sky” delivers ‘the goods,’ but, it would’ve been great to hear Welch kick into that next gear she’s quite capable of.

“Grace”

“I’m sorry I ruined your birthday / I guess I could go back to university / Try to make my mother proud / Stop this phase I’m in, she deems dangerous.” Move on over “Big God” – the spirituality is even more pronounced on the high-flying “Grace,” or is it?  Grace happens to be Florence’s beloved sister, also functioning as a terrific spiritual reference to grace itself.  Welch and co-producer Emile Haynie do an exceptional job of amplifying the gospel sensibilities.

“Grace” celebrates Welch’s sister, while her “North Star” on “Patricia” is legendary musician Patti Smith.  The superb follow-up is filled with energy, and once more alludes to spiritual matters. On the pre-chorus, Welch sings, “You told me all doors are open to the believer / I believe her, I believe her, I believe her.” Contextually, the belief is in Smith.  Interestingly, on the second verse, Welch is skeptical of love and God, but not Patti.

“100 Years” 

The remainder of High as Hope is consistent overall.  “100 Years” shines brightest among the closing trio, continuing to drop spiritual bombs throughout its course.  On the chorus, Welch sings, “And, Lord, don’t let me break this / Let me hold it lightly / Give me arms to pray with / Instead of ones that hold too tightly.” Another poetic moment occurs later as she asserts, “My heart bends and breaks so many, many times / And is born again with each sunrise.” “100 Years” is arguably the most epic number on High as Hope, and that’s against formidable competition. 

Penultimate number “The End of Love” slackens the pace, showing off Welch’s gorgeous pipes.  The breakup was bound to happen at this point of the LP – everything preceding foreshadowed the inevitable.  The vocal harmonies are chilling. On “No Choir,” Welch speaks upon the fleeting nature of happiness as she gets older, calling it “an extremely uneventful subject.” In the context of the album, it’s a reaction to a breakup. In the bigger scheme of things, it seems to be potential fleeting success as a musician: “And there will be no grand choirs to sing / No chorus will come in / No ballad will be written / This will be entirely forgotten.”

Final Thoughts

As always and expected at this point, the plight of love has Florence + The Machine bogged down on numerous occasions on High as Hope.  Furthermore, spirituality plays a role on the likes of “Big God,” “Grace,” “Patricia,” and “100 Years” upping the ante. Let’s not forget about sadness either, sigh.  Even four albums into their career, the resulting music from Florence + The Machine remains alluring all in all. At 40 minutes, High as Hope is a tight, impressive LP.

Gems: “Hunger,” “Big God,” “Grace,” “Patricia,” “100 Years” & “No Choir”

Florence + The Machine • High as Hope • Virgin • Release: 6.29.18

Photo Credit: Virgin