On 'Dance Fever,' florencemachine return to arena boom. Our review
“Free” is a relentless synth-rock banger fueled by overbearing digital keys, perhaps purposeful in their grate as Welch unpacks her regular bouts of anxiety: “[It] picks me up, puts me down, 100 times a day.” Here, Antonoff’s presence is most overt — the oversized ‘80s-Springsteen instrumentals are boilerplate for his electro-pop group Bleachers, and have spilled into the catalogs of most of his collaborators. Yet the song moves, unloading heaps of arena-ready fun despite its familiarity.
The lead single “King” is steadier in its analog rock churn, as Welch is candid about her identity, and where a musician’s life fits and doesn’t fit among traditional female roles. “I am no mother, I am no bride, I am king,” she sings again and again with resolution. Yet she knows how hollow her kingdom may sometimes seem: “My empty halls to echo with grand self-mythology.” The track builds to a mammoth moment of vocal exultation, again orchestrated to bellow through arenas later this year.
As with most FATM efforts, the singles tend to carry the day, though the album track “Dream Girl Evil” is a clear stand-out; loads of confident brood and “Sympathy for the Devil” vibes as Welch croaks to an unlucky ex: “Did mummy make you sad?” The track, featuring background vocals from alt-pop star Maggie Rogers, is one of manysongs to mention Christian iconography: Angels, demons, holy wars and the devil himself, who Welch says offered her “A golden heart or a golden voice” on “Girls Against...
The remaining tracks play serviceable albeit generally unmemorable second fiddles. “Back In Town” is a torchy sort of soul track with minimalist synth, “Cassandra” nods to the eponymous Greek myth — a goddess gifted with foresight but cursed never to be believed — and “Daffodil” overloads its percussion, achieving a bombast Imagine Dragons fans would surely appreciate.
On the album’s closing tune, a folksy, self-referential, Emmylou Harris-nodding cut called “Morning Elvis,” Welch alludes to her own dominance, boasting: “If I make it to the stage / I’ll show you what it means to be saved.”
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