Flatten the grass

BzzzzzzBzzzzzplop . . . . . . BzzzzzBzzzzzplop  EEEEEEEELike many other people I’ve been listening to Ceremonials, the new disc by Florence + the Machine. Of course, it reminds me of a great pipe band. Florence Welch’s powerful, instant-on voice makes me think of a pipe chanter, except one with a three-octave range, multi-layered, with complex harmonies and counter-melodies textured in.

I just read that her new album has hit the number-one spot in the UK charts, so there must be a market for BIG music that carries certain sameness, and which is highly infused with Celtic style, crazy outfits and wispy heather visions of the moors. She also often uses lots of lower-toned drums, often in rhythmical, chant-like ways, which fits with the current sound of many bands.

Bill Livingstone once talked about listening to the 1980s vintage Strathclyde Police when they were “in full sail,” conjuring an image of a clipper meeting the waters head-on with wind. The pipe band-sailing ship analogy is even more apt today with much larger bands developing huge visual and sonic power.

I could see Florence + the Machine doing something with a pipe band, just as I could hear a pipe band covering one or two of her songs in a concert. Our music is often criticized by outsiders for always sounding the same with unwavering loudness and a dearth of dynamics. But there is no denying that a pipe band at its best produces impressive and beautiful energy that, as George Campbell would say, “flattens the grass.”

I’ve also read some criticism of Ceremonials, contending that the songs remain the same from track-to-track. But Florence Welch clearly works within a formula that rings true with many people. Sometime, pipe bands try too hard to be something they are not and can never be. Instead of working with what they have, they strive to overlay pipes and drums with other stuff, seemingly never content with, It is what it is.

I’m not saying for a second that there is anything wrong with that. I’m a vocal proponent of pushing the boundaries. But some artists are able to hit upon a formula without ever becoming formulaic. They recognize what they’ve been given, their limitations, and get on with making the most of them.

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