{"id":8122,"date":"2025-10-31T05:29:24","date_gmt":"2025-10-31T05:29:24","guid":{"rendered":"https:\/\/www.jubi24.com\/?p=8122"},"modified":"2025-10-31T05:29:26","modified_gmt":"2025-10-31T05:29:26","slug":"florence-the-machine-everybody-scream-review-alt-rock-survivor-surveys-her-kingdom-with-swagger-pop-and-rock","status":"publish","type":"post","link":"https:\/\/www.jubi24.com\/?p=8122","title":{"rendered":"Florence + the Machine: Everybody Scream review \u2013 alt-rock survivor surveys her kingdom with swagger | Pop and rock"},"content":{"rendered":"


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T<\/span>he title track of Everybody Scream provides a suitably striking opening for Florence + the Machine\u2019s sixth album. A sinister organ and a choir of voices harmonise in the style of a horror theme, replaced in short order by the sound of screaming and a stomping glam rock rhythm; instead of the shouts of \u201cHey!\u201d that traditionally punctuated a glitterbeat in the 70s, there are distaff cries of \u201cDance!\u201d and \u201cTurn!\u201d Its sound offers a corrective to the notion that whenever the National\u2019s Aaron Dessner appears as co-producer in an album\u2019s credits, as he does here, it means the artist in question is striving for tastefully hued indie folk \u2013 the sound he brought to Taylor Swift\u2019s 2020 albums Folklore and Evermore, Ed Sheeran\u2019s Autumn Variations and the mistier moments of Gracie Abrams\u2019 The Secret of Us. It also provides a backdrop over which Florence Welch can ruminate on what sounds like a very complicated relationship with fame. She says she can only become her \u201cfull size\u201d on stage and openly relishes the control she can exert over an audience, \u201cbreathless and begging and screaming\u201d. Equally, there appears to be a downside. \u201cLook at me run myself ragged, blood on the stage,\u201d she sings. \u201cBut how can I leave when you\u2019re calling my name?\u201d<\/p>\n

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