Florence + The Machine – “Shake It Out”

After unleashing buzz single “What the Water Gave Me” a few weeks ago, Florence + The Machine has officially kicked off her/their second album campaign with the release of the Paul Epworth-produced lead single “Shake It Out,” set to premiere on UK radio today. So…how is it?

Breathe. It’s absolutely amazing, truly.

Like so much of what made Lungs one of the greatest debut records of the past 10 years, “Shake It Out” finds Welch delivering her signature romantically macabre lyricism within her safe space–that is, the crashing sounds of tambourines, drums, dramatic string-work and church organs with all the mournful intensity of a funeral procession.

Yet “Shake It Out” is more of a triumphant moment than the angst and beautiful tragedy of, say, “Cosmic Love”–Florence Welch style, anyway: “Tonight I’m done with my graceless heart / So tonight, I’m going to cut it out and then restart,” the chanteuse cries. I mean…that’s one way to start over. I myself prefer a new haircut.

“It’s always darkest before the dawn,” Welch assures us throughout her stunning, almighty new single. That’s Florence Welch for you: Glass is always half full! (Of brimstone and blood, that is.)

“Shake It Out” is the lead single from Ceremonials, released October 30 in the UK and November in the US. (iTunes)

Yes, it’s true: The witchy Miss Florence Welch has returned!

After several months of touring ’round the world and many weeks spent recording with acclaimed British producer Paul Epworth (Adele, Kate Nash) at England’s famed Abbey Road Studios, the fiery-headed chanteuse is back with “What The Water Gave Me,” the whimsical lead single from her as-of-yet untitled sophomore effort, due out on November 7.

As she told Pitchfork in an interview posted today, their work on Lungs–especially “Cosmic Love” (my personal favorite)–inspired Welch to keep collaborating with Epworth: “The way that “Cosmic Love” turned out really made me want to do the whole next record with him. That song was written in like half an hour in a tiny bedroom studio and I always had this idea for a really big sound coming from all that clatter, and he managed to capture that on record in the best way.”

Just as with all great Florence productions, “What The Water Gave Me” weaves together echoed, otherworldly instrumentation and pleasant plucks of harp with Welch’s soulful sound; her voice quivering above crashing drums and noisy guitar licks as she throws her head back to deliver howl after almighty howl by the song’s massive finale. Add in an organ and the sobering chant of a choir and et voila: Florence is taking us to CHURCH!

As one of the most genuinely exciting new artists to have emerged in the past decade–as well as the driving force behind one of my top albums of 2009–it’s reassuring to see (and hear!) that Lady Welch is right on track with her follow-up: It’s spooky. It’s soulful. It’s flawless. Were you expecting anything less?

“What the Water Gave Me” was released on August 23. (iTunes)

Is there anyone more deserving of smashing global success than Adele?

She’s lovely, sublimely talented, and down-to-earth — and her sound has evolved from 19‘s highly listenable but rather unassuming adult-contemporary pop to 21‘s striking collection of enormous, earth-shaking four-minute soul-inflected masterpieces.

But American audiences are notoriously fickle, especially to the more sophisticated end of the pop spectrum that the Brits keep gamely producing. This makes it even more of a pleasant surprise to see that Adele has stormed the U.S. charts, snagging the #1 spot on the Billboard 200 and selling over 352,000 copies, marking the largest sales for any release since last November.

Sales were no doubt bolstered by a string of well-publicized appearances on Ellen, Jimmy Kimmel, Chelsea Lately, and The Early Show — but Adele’s chart success also feels like a thrillingly meritocratic reception for an artist who genuinely deserves it.

And I can’t think of a better way to celebrate Adele’s hard-earned success than with a stunning new remix from Chicago DJ Johnny Lawson, who has breathed new life into Adele’s instant classic “Rolling In the Deep.”

In Lawson’s capable hands, the pounding Paul Epworth-produced track gets a ’90s house makeover, complete with thrilling tribal beats and the best everything-but-the-kitchen-sink instrumentation I’ve heard in a minute.

On January 24, Adele will release 21 in the UK, the highly anticipated follow-up to her Grammy Award winning debut, 19.

There’s been an outpouring of overwhelmingly positive critical praise surrounding this record from various media outlets over the past few weeks, so I’m going to caution you now: Believe the hype. It really is that good.

21 was produced and co-written by a varied cast of talented musicians, including 19 producers Jim Abbiss and UK hit-maker Eg White, as well as Rick Rubin (co-president of Columbia Records) and Paul Epworth, the British producer responsible for–amongst many achievements–Florence + The Machine‘s flawless 2009 debut, Lungs.

But despite the wealth of talented producers sitting behind the soundboard in the studio, it’s impossible to deny the true talent at the helm of this project: Adele.

Like a modern day reincarnation of Dusty Springfield, the young UK songstress is a throwback to the legendary voices of yesteryear. Her voice’s soulful quality, technique, depth and sheer power is nothing short of awe-inspiring.

But beyond being an adept vocalist, it’s Adele’s ability to emote that carries her a cut above most of today’s singers: When she’s angry, she burns. When she hurts, she bleeds. And we, as the listeners, feel it with every song. To think she was only 21 years old at the time of writing and recording this album? Well, it’s almost frightening.

“Sure, she’s got it all / But baby, is that really what you want?” Adele taunts on the wicked, sauntering Ryan Tedder-produced “Rumour Has It”–one of the many bluesy, country-tinged offerings on the new record–a sound first introduced to her by the tour bus driver during her American tour last year, which resulted in a wealth of new influences including “Wanda Jackson, Garth Brooks, early Johnny Cash, early Dolly Parton, the Carter Family…especially June Carter.”

Yet while the album is occasionally colored with flashes of bright, playful melodies as displayed on “Rumour Has It,” the bulk of the record is mired in sorrow and rage, as evidenced in the gigantic lead single, “Rolling In The Deep.” “The scars of your love, they leave me breathless / I can’t help feeling we could have had it all,” Adele achingly belts out during the song’s pounding chorus.

If “Rolling In The Deep” is 21‘s raging storm, it’s the album’s closing moment that finds the dark clouds slowly rolling away.

“Someone Like You,” is–as pop producer RedOne recently described Lady Gaga‘s upcoming single, “Born This Way”–almost too precious to talk about. “Never mind, I’ll find someone like you / I wish nothing but the best for you too,” Adele sadly assures herself above a simple, devastating piano melody. The song burns with a raw ache that we can both hear and feel. They just don’t write them like this anymore! Simply put: This song is everything.

However, it’s “Set Fire to the Rain”–apart from the two aforementioned numbers–that may well be the album’s crowning achievement.

Produced and co-penned by Fraser T Smith (Taio Cruz‘s “Break Your Heart”; James Morrison‘s “Broken Strings”), “Set Fire To The Rain” is a complete and utter triumph for the young chanteuse; an aching power ballad that packs enough of a punch to cause jaws to drop to the floor.

“I set fire to the rain, watched it pour as I touched your face,” she cries out during the song’s dramatic, chill-inducing chorus as pianos and string crash and burn beneath the surface. The song plays like an instant classic and, with any luck, may become a pop standard for years to come when released as the album’s second single.

Additional highlights include the white flag-waving surrender of “Take It All,” (“So is it over? Is this really it? / You’re giving up so easily, I thought you loved me more than this”) and the twangy “Don’t You Remember,” a simple, heartbreaking moment of mourning that finds Adele desperately searching for some sign of life from her former flame: “When was the last time you thought of me? Or have you completely erased me from your memories?” Adele woefully croons atop the song’s slow strumming guitar.

There’s also the breathtakingly romantic bossa nova swing of “Lovesong,” Adele’s acoustic take on The Cure‘s oft-covered 1989 hit single. In the end though, it’s hard to spotlight particular standouts on a record complete with so many quality offerings.

21 is a gorgeous collection of honest lyricism and winning songcraft. It’s an incredibly personal experience, complete with a genuine depth and sincerity that trumps its predecessor and proves Adele to be even more of a force to be reckoned with than most had probably imagined.

The album will undoubtedly go on to become one of the major contenders for many “Best Of ’11″ lists compiled later this year, and is nearly guaranteed as much–if not more–critical praise and recognition as her 19 received when award season comes rolling around once again.

And let’s not forget, as it’s worth repeating: She’s still only 21 years old.

21 was released on January 24 in the UK. (iTunes) (iTunes UK)

Yesterday, Adele released the official video for “Rolling In The Deep” on iTunes, the first single from her upcoming sophomore album, 21. (WATCH)

Sand, sparks, and shattered porcelain all help to add texture to the soulful singer’s highly stylized clip, which features an array of artsy visuals and cinematography that perfectly suits the song’s brooding mood. We’re breakin’ dishes up in here (all night)!

Though I was admittedly underwhelmed when I first heard the stomping Paul Epworth-produced single a few weeks back, I can safely conclude that my opinion has changed entirely: “Rolling In The Deep” is clearly one of the better singles of 2010.

“Rolling In The Deep” was released on November 30 in the US. 21 will be released on February 22. (iTunes)

After denial comes anger. Then, bargaining.

It seems that Cee Lo Green‘s moving right along the five stages of grief with “It’s Ok,” the follow-up to the blisteringly bitter lead single from the singer’s third studio album The Lady Killer, “Fuck You.” (LISTEN)

“Please baby, please lover / Let’s find a way to forgive each other,” Cee Lo pleads in the swinging, Motown-infused up-tempo co-produced by up-and-coming Norwegian production duo ELEMENT and Paul Epworth (Florence + The Machine‘s Lungs; Annie‘s Don’t Stop). I guess someone’s not so bothered to be considered an Atari anymore.

Every lick as catchy as “Fuck You,” “It’s Ok” is almost destined to receive the same radio lovin’ upon its release (if not more!)–and deservedly so: This man’s got some serious hits on his hands.

Oh, by the way–NPR is currently streaming The Lady Killer in full. (LISTEN)

The Lady Killer will be released on November 9. (iTunes)

The thing is I don’t know when to shut my mouth. That’ the problem.

Sky Ferreira is an ‘it’ girl.

Immortalized by the industry’s top photographers (Rankin, for instance, took the snapshot above), suited and styled by the most desirable modern couturiers, and produced by arguably the biggest names in the music industry, the 18-year-old Los Angeles native has certainly made a name for herself far before ever…well, making a name for herself. Yet.

After sending out a MySpace message to Swedish power pop producers Bloodshy & Avant back in 2006 begging for a collaboration and armed with nothing but a few raw demos, the singer was stunned when she received an answer back inviting her to come record with the duo. Suddenly she was off to Stockholm, and so began her formal endeavor into the industry.

With her first single already making waves in the UK–the infectious, stuttering electro-pop smash, “One”–as well as an upcoming Ryan Tedder-produced single due out in the US later this summer (“Obsession”), Ferreira is now heading full steam toward her long-awaited debut record, currently slated for release in January. (Click here to hear a 30-second sample of the song now!)

I got the chance to speak to the rising starlet last week during her promotional spin around Londontown. Barring an impromptu (albeit hilarious) cameo by PopJustice and more than a few Britney related questions on my end, Ferreira had lots to say about her music, the industry, and the culture of leaks (of the musical variety). Oh yes, and I asked how she gets her hair so nice.

Click “Read More…” to read the full interview.

Read More…

I’ve been keeping an eye out for Sky Ferreira–the rambunctious 17-year-old L.A. response to Lily Allen–for some time now: From her manic tweets to the A-list producers she’s magically working with for her debut album (Paul Epworth; Dallas Austin) to the rather salacious photos (she’s 17!) posted while out partying with the likes of Ke$ha and Katy Perry.

Tonight, the video for her debut single “17″ has been released, and it’s really quite something. I can’t tell if the video events are entirely autobiographical, or if her current lifestyle is meant to mirror that which is being portrayed here, or if her life is just some strange mixture of both. It’s basically uncomfortable, un-sexy, and as awkward as the slightly off-ish melody of the chorus.

She’s certainly going the Lolita route for this release, almost like a scrubbed clean, 21st century pop upgrade of Fiona Apple‘s superb “Criminal.”

I just haven’t made up my mind as to whether Ferreira’s the real deal or not. Time will tell!