hylas
nerd of prey
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i still havent posted in this thread. thats because i dont have anything to say, besides I LOVE HER MUSIC 
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Florence + The Machine
- Thread starter miaedu
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Not Fade Away | Florence + The Machine
http://raveonbuddyholly.com -
Here's the music video for Florence + The Machine's take on the classic Buddy Holly track "Not Fade Away." This version of "Not Fade Away" appears on the new Buddy Holly tribute album, RAVE ON BUDDY HOLLY, due in stores June 28th, 2011. Film by Tabitha Denholm.
[ame]http://www.youtube.com/watch?v=JlE1C8_DtSo[/ame]
http://raveonbuddyholly.com -
Here's the music video for Florence + The Machine's take on the classic Buddy Holly track "Not Fade Away." This version of "Not Fade Away" appears on the new Buddy Holly tribute album, RAVE ON BUDDY HOLLY, due in stores June 28th, 2011. Film by Tabitha Denholm.
[ame]http://www.youtube.com/watch?v=JlE1C8_DtSo[/ame]
Florence and the Machine are heading back out on the road in the US. The tour starts with a performance at the legendary Bonnaroo on Friday and winds around the nation complete with a stop on Good Morning America and The Colbert Report while in New York.
For more information on the tour including where to grab tickets, head on over to the tour section of her website.
Florence + the Machine 2011 Tour Dates:
6/10 - Manchester, TN - Bonnaroo
6/12 - Berkeley, CA - Greek Theatre*
6/13 - Los Angeles, CA - Greek Theatre*
6/14 - Los Angeles, CA - Greek Theatre*
6/17 - Minneapolis, MN - Weesner Ampitheater ^
6/18 - Chicago, IL - Aragon Ballroom ^
6/20 - Philly, PA - Festival Pier #
6/22 - Baltimore, MD - M&T Bank Stadium w/ U2
6/23 - Boston, MA - Bank of America Pavilion #
6/24 - New York, NY - Good Morning America @ Rumsey Playfield +
6/24 - New York, NY - Summerstage #
6/26 - East Lansing, MI - Spartan Stadium w/ U2
6/29 - Miami, FL - Sun Life Stadium w/ U2
6/30 - Orlando, FL - Hard Rock Live ^
7/01 - Atlanta, GA - Fox Theater ^
7/02 - Nashville, TN - Vanderbilt Stadium w/ U2
7/04 - Indianapolis- The Lawn at White River State Park ^
7/05 - St. Louis, MO - The Pageant ^
7/06 - Milwaukee, WI - Marcus Ampitheater w/ The Black Keys
* w/ Hanni El Khatib and Twin Shadow
^ w/ Hanni El Khatib
# w/ Twin Shadow
+ Viewers interested in joining "GMA" in Central Park are encouraged to arrive at Summerstage Rumsey Playfield via the 72nd Street entrance on Fifth Avenue at 6 a.m., when the park opens to the public. All concerts are free and open to the public and will take place live during "Good Morning America," Fridays from 7 to 9 a.m. ET.
For more information on the tour including where to grab tickets, head on over to the tour section of her website.
Florence + the Machine 2011 Tour Dates:
6/10 - Manchester, TN - Bonnaroo
6/12 - Berkeley, CA - Greek Theatre*
6/13 - Los Angeles, CA - Greek Theatre*
6/14 - Los Angeles, CA - Greek Theatre*
6/17 - Minneapolis, MN - Weesner Ampitheater ^
6/18 - Chicago, IL - Aragon Ballroom ^
6/20 - Philly, PA - Festival Pier #
6/22 - Baltimore, MD - M&T Bank Stadium w/ U2
6/23 - Boston, MA - Bank of America Pavilion #
6/24 - New York, NY - Good Morning America @ Rumsey Playfield +
6/24 - New York, NY - Summerstage #
6/26 - East Lansing, MI - Spartan Stadium w/ U2
6/29 - Miami, FL - Sun Life Stadium w/ U2
6/30 - Orlando, FL - Hard Rock Live ^
7/01 - Atlanta, GA - Fox Theater ^
7/02 - Nashville, TN - Vanderbilt Stadium w/ U2
7/04 - Indianapolis- The Lawn at White River State Park ^
7/05 - St. Louis, MO - The Pageant ^
7/06 - Milwaukee, WI - Marcus Ampitheater w/ The Black Keys
* w/ Hanni El Khatib and Twin Shadow
^ w/ Hanni El Khatib
# w/ Twin Shadow
+ Viewers interested in joining "GMA" in Central Park are encouraged to arrive at Summerstage Rumsey Playfield via the 72nd Street entrance on Fifth Avenue at 6 a.m., when the park opens to the public. All concerts are free and open to the public and will take place live during "Good Morning America," Fridays from 7 to 9 a.m. ET.
ShihTzuTylenol
does this look slutty?
- Joined
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The Machine? AHA!
This must be the band that Tom Morello and his group used to rage against...very interesting
Flo and her troupe was on Steven Colbert a couple nights ago and then again tonight they were on some reality show; I wanna say, So You Think Yer a Good Dancer? or something like that...dancing isn't easy, it takes practice. I got a few moves I picked up through the years from watching John Travolta films/ Saturday Night Fever/Urban Cowboy/Grease and Pulp Fiction; I found The Twist he did with Uma Thurman gets me laid more than most other dance moves.
anyhoe, Florence + the Henderson was on there too...
they played Dog Days Are Over on the Colbeer Repoor
it is a tear jerker
This must be the band that Tom Morello and his group used to rage against...very interesting
Flo and her troupe was on Steven Colbert a couple nights ago and then again tonight they were on some reality show; I wanna say, So You Think Yer a Good Dancer? or something like that...dancing isn't easy, it takes practice. I got a few moves I picked up through the years from watching John Travolta films/ Saturday Night Fever/Urban Cowboy/Grease and Pulp Fiction; I found The Twist he did with Uma Thurman gets me laid more than most other dance moves.
anyhoe, Florence + the Henderson was on there too...
they played Dog Days Are Over on the Colbeer Repoor
it is a tear jerker
Recently found this though:
Florence and the Machine Live at the Wiltern
It consists of a recording of a concert at the Wiltern Theatre in Los Angeles, which took place on 7 November 2010. It was released exclusively to the iTunes Store on 06/28 It was also accompanied by a film version of the concert.
Track listing
No. Title Length
1. "Howl" 4:51
2. "Drumming Song" 5:38
3. "My Boy Builds Coffins" 4:04
4. "Cosmic Love" 4:39
5. "Blinding" 10:11
6. "Ghosts" 4:14
7. "Hurricane Drunk" 3:55
8. "Between Two Lungs" 5:02
9. "You've Got the Love" 5:26
10. "Strangeness and Charm" 6:20
11. "Rabbit Heart (Raise It Up)" 6:49
12. "Heavy Intro" 1:52
13. "Heavy in Your Arms" 3:52
14. "Kiss with a Fist" 6:35
15. "Dog Days Are Over" 8:09
Florence and the Machine Live at the Wiltern
It consists of a recording of a concert at the Wiltern Theatre in Los Angeles, which took place on 7 November 2010. It was released exclusively to the iTunes Store on 06/28 It was also accompanied by a film version of the concert.
Track listing
No. Title Length
1. "Howl" 4:51
2. "Drumming Song" 5:38
3. "My Boy Builds Coffins" 4:04
4. "Cosmic Love" 4:39
5. "Blinding" 10:11
6. "Ghosts" 4:14
7. "Hurricane Drunk" 3:55
8. "Between Two Lungs" 5:02
9. "You've Got the Love" 5:26
10. "Strangeness and Charm" 6:20
11. "Rabbit Heart (Raise It Up)" 6:49
12. "Heavy Intro" 1:52
13. "Heavy in Your Arms" 3:52
14. "Kiss with a Fist" 6:35
15. "Dog Days Are Over" 8:09
There are plenty of foolish admirers -- still under the spell of 2009's hypnotic art-pop album Lungs -- who wouldn't mind sacrificing themselves to the sea for Florence Welch.
The red-headed siren has got that ethereal yet dangerous thing going on. And her new track "What the Water Gave Me" off Florence + The Machine's upcoming sophomore album, revealed today via florenceandthemachine.net, is the perfect soundtrack for lovesick self-sacrifice.
"It's a song for the water," explains Welch in an official statement on her website.
"When I was writing this song I was thinking a lot about all those people who've lost their lives in vain attempts to save their loved ones from drowning."
"It's about water in all forms and all bodies," she elaborates. "It's about a lot of things; Virginia Woolf creeps into it, and of course Frieda Kahlo, whose painfully beautiful painting gave me the title."
Who knew a watery grave could be so dreamy.
Florence + the Machine's currently untitled second album will be released in November 2011.
[ame]http://www.youtube.com/watch?v=am6rArVPip8&ob=av2e[/ame]
The red-headed siren has got that ethereal yet dangerous thing going on. And her new track "What the Water Gave Me" off Florence + The Machine's upcoming sophomore album, revealed today via florenceandthemachine.net, is the perfect soundtrack for lovesick self-sacrifice.
"It's a song for the water," explains Welch in an official statement on her website.
"When I was writing this song I was thinking a lot about all those people who've lost their lives in vain attempts to save their loved ones from drowning."
"It's about water in all forms and all bodies," she elaborates. "It's about a lot of things; Virginia Woolf creeps into it, and of course Frieda Kahlo, whose painfully beautiful painting gave me the title."
Who knew a watery grave could be so dreamy.
Florence + the Machine's currently untitled second album will be released in November 2011.
[ame]http://www.youtube.com/watch?v=am6rArVPip8&ob=av2e[/ame]
iTunes UK has now posted the full details of the album.
It's titled Ceremonials and is out October 31 in the UK via Island, moved up a week from the previously reported November 7 release date. The North American release date is still to come.
Check out its full tracklist:
Ceremonials:
01 Only If for Night
02 Shake It Out
03 What the Water Gave Me
04 Never Let Me Go
05 Breaking Down
06 Lover to Lover
07 No Light, No Light
08 Seven Devils
09 Heartlines
10 Spectrum
11 All This and Heaven Too
12 Leave My Body
http://itunes.apple.com/gb/preorder/ceremonials/id464882177
It's titled Ceremonials and is out October 31 in the UK via Island, moved up a week from the previously reported November 7 release date. The North American release date is still to come.
Check out its full tracklist:
Ceremonials:
01 Only If for Night
02 Shake It Out
03 What the Water Gave Me
04 Never Let Me Go
05 Breaking Down
06 Lover to Lover
07 No Light, No Light
08 Seven Devils
09 Heartlines
10 Spectrum
11 All This and Heaven Too
12 Leave My Body
http://itunes.apple.com/gb/preorder/ceremonials/id464882177
Florence & The Machine: The Billboard Cover Story
It was a highly tempting offer. But ultimately not quite tempting enough.
Such is the confession of Florence Welch, 25, the flame-haired siren who fronts Florence & the Machine.
About 18 months ago, when the Grammy Award-nominated Brit was in the early stages of prepping her eagerly anticipated second album, the idea of going to Los Angeles to work with some of the hottest writer/producers on the planet was briefly and tantalizingly dangled before her. She declines to reveal their names, but says the opportunity was one that held an instant attraction.
"I love Lady Gaga, and I love Katy Perry and R&B and rap music," Welch says, the words tumbling from her mouth in rapid succession-like an excited, albeit highly well-spoken teen. "I love big, American pop music. I'm a total sucker for it. So the label said, 'Do you want to go over to America to work in that scene?' And I was like, 'Yeah, OK. Maybe I could bring my own take on it.' It got put in the diary to go out for a week, to start writing the new record. And then the diary got sent to me and I looked at it and just went, 'No. No. No. No. No! I can't do that. This is too weird. I can't just suddenly leave behind everything that made [2009 debut album] 'Lungs.'"
Not for the first time in her life, Florence Leontine Mary Welch -- born in South London in 1986 to Evelyn Welch, a professor, and Nick Welch, an advertising executive -- choose to follow her heart over her head; her natural instinct over cold-hearted commercialism. Not for the first time, it has paid off handsomely.
Titled "Ceremonials" and due Oct. 31 worldwide on Island Records/Universal (except for North America, where it will debut Nov. 1 on Universal Republic), Florence & the Machine's second studio set is a muscular, hugely ambitious and achingly beautiful work that takes its predecessor's sonic blueprint (soaring vocals, ethereal gospel choirs, mystical harps and pounding tribal drums) and fires it to the stars. Produced by Paul Epworth, currently riding high with his work on Adele's all-conquering "21" (XL Recordings/Columbia), the 12-track record could accurately be described as a more confident, bigger and better version of the celebrated Lungs.
That set went on to sell 3.5 million units worldwide, according to Universal. Domestic sales stand at 738,000, according to Nielsen SoundScan, with the album's breakout track, "Dog Days Are Over," peaking at No. 21 on the Billboard Hot 100 and racking up 1.8 million downloads. In the United Kingdom, Lungs won the 2010 BRIT Award for British album and has moved 1.4 million units, according to the Official Charts Co. Combined single sales in the United Kingdom total more than 1.2 million units.
As impressive as those numbers are, Universal is optimistic that "Ceremonials" will knock those achievements out of the park. "We've got incredibly high expectations," says Universal Republic president/CEO Monte Lipman, who calls the album one of the fourth quarter's key releases. "She can compete against anybody in the marketplace and that's the way we're treating this. We're giving it everything we've got."
Welch, fresh from a morning jog around her local London park that culminated in the singer pirouetting on a public bench to the delight of bemused onlookers ("I'm more of a balletic runner than athletic," she says with a giggle), offers a more modest assessment.
"I'm excited to play it live but I am nervous about what the reaction to the record is going to be," Welch says. "It's as if the scrapbook of "Lungs" has been given a beginning, middle and an end and made into a whole story. It's taken the sound that I found about halfway through making "Lungs" and really gone with it. I think I have taken it to the apex."
NEXT: The Making Of New Album 'Ceremonials'
http://www.billboard.com/#/features/florence-the-machine-the-billboard-cover-1005379192.story?page=1
It was a highly tempting offer. But ultimately not quite tempting enough.
Such is the confession of Florence Welch, 25, the flame-haired siren who fronts Florence & the Machine.
About 18 months ago, when the Grammy Award-nominated Brit was in the early stages of prepping her eagerly anticipated second album, the idea of going to Los Angeles to work with some of the hottest writer/producers on the planet was briefly and tantalizingly dangled before her. She declines to reveal their names, but says the opportunity was one that held an instant attraction.
"I love Lady Gaga, and I love Katy Perry and R&B and rap music," Welch says, the words tumbling from her mouth in rapid succession-like an excited, albeit highly well-spoken teen. "I love big, American pop music. I'm a total sucker for it. So the label said, 'Do you want to go over to America to work in that scene?' And I was like, 'Yeah, OK. Maybe I could bring my own take on it.' It got put in the diary to go out for a week, to start writing the new record. And then the diary got sent to me and I looked at it and just went, 'No. No. No. No. No! I can't do that. This is too weird. I can't just suddenly leave behind everything that made [2009 debut album] 'Lungs.'"
Not for the first time in her life, Florence Leontine Mary Welch -- born in South London in 1986 to Evelyn Welch, a professor, and Nick Welch, an advertising executive -- choose to follow her heart over her head; her natural instinct over cold-hearted commercialism. Not for the first time, it has paid off handsomely.
Titled "Ceremonials" and due Oct. 31 worldwide on Island Records/Universal (except for North America, where it will debut Nov. 1 on Universal Republic), Florence & the Machine's second studio set is a muscular, hugely ambitious and achingly beautiful work that takes its predecessor's sonic blueprint (soaring vocals, ethereal gospel choirs, mystical harps and pounding tribal drums) and fires it to the stars. Produced by Paul Epworth, currently riding high with his work on Adele's all-conquering "21" (XL Recordings/Columbia), the 12-track record could accurately be described as a more confident, bigger and better version of the celebrated Lungs.
That set went on to sell 3.5 million units worldwide, according to Universal. Domestic sales stand at 738,000, according to Nielsen SoundScan, with the album's breakout track, "Dog Days Are Over," peaking at No. 21 on the Billboard Hot 100 and racking up 1.8 million downloads. In the United Kingdom, Lungs won the 2010 BRIT Award for British album and has moved 1.4 million units, according to the Official Charts Co. Combined single sales in the United Kingdom total more than 1.2 million units.
As impressive as those numbers are, Universal is optimistic that "Ceremonials" will knock those achievements out of the park. "We've got incredibly high expectations," says Universal Republic president/CEO Monte Lipman, who calls the album one of the fourth quarter's key releases. "She can compete against anybody in the marketplace and that's the way we're treating this. We're giving it everything we've got."
Welch, fresh from a morning jog around her local London park that culminated in the singer pirouetting on a public bench to the delight of bemused onlookers ("I'm more of a balletic runner than athletic," she says with a giggle), offers a more modest assessment.
"I'm excited to play it live but I am nervous about what the reaction to the record is going to be," Welch says. "It's as if the scrapbook of "Lungs" has been given a beginning, middle and an end and made into a whole story. It's taken the sound that I found about halfway through making "Lungs" and really gone with it. I think I have taken it to the apex."
NEXT: The Making Of New Album 'Ceremonials'
http://www.billboard.com/#/features/florence-the-machine-the-billboard-cover-1005379192.story?page=1
Sigma-taylor-E
JUB Addict
Lungs is just a fucking amazing album!!!!!!!!!! I THINK "IVE LISTEN TO GIRL WITH ONE EYE A MILLION TIMES (BOTH VERSION!)
I ZEALOUSLY AWAIT THE SECOND ALBUM!
I ZEALOUSLY AWAIT THE SECOND ALBUM!
blonderocker
Sex God
seen her live they are amazing her voices is so brilliant live the album just dosen't do her voice justice
Album review: Florence + the Machine's 'Ceremonials'
Sometimes the toughest challenge for a singer like Florence Welch is to learn how to wield the kind of pulmonary power that can make the heavens quake. On Florence + the Machine’s 2009 debut, the fittingly named “Lungs,” the flame-haired countess of theatrical art-pop voraciously tore into songs with her throaty wail. In wide-screen vistas like “Dog Days Are Over,” Welch would chew scenery while the Machine valiantly toiled to get a musical word in edgewise. For all her prodigious talent, it sometimes didn’t seem Welch was listening to the very song she was singing, she was so busy filling it with noise.
On her follow-up, “Ceremonials,” Welch has struck a fantastic and necessary balance. She’s found a way to honor her Bjorkian appetites for lavish orchestral spectacle while finding the depth and subtlety of her voice. She’s become a better actor, a keener listener and still manages to let it rip on occasion. But she also knows when to hush up, like at the close of “Spectrum,” when Tom Monger’s harp gorgeously flutters and dips around her.
Welch wrote many of the songs on “Ceremonials” with Paul Epworth, Britain’s premier producer who knows a thing or two about working with mighty-piped prodigies. He cowrote and produced “Rolling in the Deep,” a master class in mounting drama, from the chart-topping Adele. The same hush-then-explode dynamics are on display here, with the hypnotizing “Seven Devils” as a spooky stand-out.
But other songwriters know how to mine Welch’s multifaceted voice as well. James Ford, from the purist dance collective Simian Mobile Disco, collaborated with her on “Breaking Down,” which sounds like the final missive of a stir-crazy ice princess from her frozen palace. Welch delivers the phrase “I’m breaking down again” with wicked nonchalance, proof that not every drama needs to be blasted on the big screen to get our attention.
Florence + the Machine
“Ceremonials”
Island Records
Three and a half stars (out of four)
http://latimesblogs.latimes.com/mus...review-florence-the-machines-ceremonials.html
Sometimes the toughest challenge for a singer like Florence Welch is to learn how to wield the kind of pulmonary power that can make the heavens quake. On Florence + the Machine’s 2009 debut, the fittingly named “Lungs,” the flame-haired countess of theatrical art-pop voraciously tore into songs with her throaty wail. In wide-screen vistas like “Dog Days Are Over,” Welch would chew scenery while the Machine valiantly toiled to get a musical word in edgewise. For all her prodigious talent, it sometimes didn’t seem Welch was listening to the very song she was singing, she was so busy filling it with noise.
On her follow-up, “Ceremonials,” Welch has struck a fantastic and necessary balance. She’s found a way to honor her Bjorkian appetites for lavish orchestral spectacle while finding the depth and subtlety of her voice. She’s become a better actor, a keener listener and still manages to let it rip on occasion. But she also knows when to hush up, like at the close of “Spectrum,” when Tom Monger’s harp gorgeously flutters and dips around her.
Welch wrote many of the songs on “Ceremonials” with Paul Epworth, Britain’s premier producer who knows a thing or two about working with mighty-piped prodigies. He cowrote and produced “Rolling in the Deep,” a master class in mounting drama, from the chart-topping Adele. The same hush-then-explode dynamics are on display here, with the hypnotizing “Seven Devils” as a spooky stand-out.
But other songwriters know how to mine Welch’s multifaceted voice as well. James Ford, from the purist dance collective Simian Mobile Disco, collaborated with her on “Breaking Down,” which sounds like the final missive of a stir-crazy ice princess from her frozen palace. Welch delivers the phrase “I’m breaking down again” with wicked nonchalance, proof that not every drama needs to be blasted on the big screen to get our attention.
Florence + the Machine
“Ceremonials”
Island Records
Three and a half stars (out of four)
http://latimesblogs.latimes.com/mus...review-florence-the-machines-ceremonials.html
AlmondMilk
gyros!
- Joined
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So I've heard of Florence + the Machine, but I never gave them a chance, unfortunately. It took The Sing-Off to introduce me. I'm just glad I finally got an introduction. Now here's Pentatonix's rendition of "Dog Days are Over." I don't want to say they're better. Honestly, I like the original as well as this rendition. Both have elements the other lacks, but I guess the original is longer and has that harp playing the whole time, and...is the original
So I'll like the original way more 
Anywho, I'm a new fan of this band. YAY!