The Only If For A Night Songfacts reports that this song was inspired by a dream Florence had in a camper van parked in a German wood while she was o read more. The Only If For A Night Songfacts reports that this song was inspired by a dream Florence had in a camper van parked in a German wood while she was on tour with MGMT.
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'Released: 5 July 2012. 'Released: 30 November 2012Ceremonials is the second studio album by English band. It was released on 28 October 2011. The band started working on the album in 2010 and finished it in 2011.
The standard edition of the album was entirely produced by, who also worked prominently on the band's debut album (2009).Ceremonials received generally positive reviews from music critics, who drew comparisons to artists such as, while also praising the instrumentation, 's vocals and the production of the songs. It appeared on several year-end critics' lists in late 2011. At the, the album received a nomination for, while ' was nominated for. Ceremonials debuted at number one on the, becoming the band's second consecutive number-one album.
It also debuted at number one in Australia, Ireland and New Zealand, and peaked at number six on the US, becoming the band's first top-10 album in the United States. It has sold 2.5 million copies worldwide.Five singles were released from Ceremonials. ' was released on 23 August 2011 as a teaser for the album. 'Shake It Out' was released on 30 September 2011 as the album's official lead single, becoming one of the band's most commercially successful singles to date. ' was released on 16 January 2012 as the second single from the album, and ' was released on 30 March 2012. ' was released on 5 July 2012, and fuelled by a remix by Scottish DJ, became Florence and the Machine's first number-one single in the UK.
The album's fifth and final single, ', was released on 30 November 2012. Ceremonials was also promoted by the band by a worldwide tour, the (2011–12). Contents.Background magazine confirmed that after the release of the song ' for, lead singer entered the studio for a two-week session to record with producer, with whom she worked on the band's debut album,. She said that the two recordings that came out of that session were inspired by science because 'a lot of her family are doctors or trying to become doctors, so much of her conversations are fixated on medical stuff.' In an interview with the website on 17 February 2011, guitarist Rob Ackroyd stated, 'Work on the second album has begun with Paul Epworth and there is talk of booking out for a month in April/May to record.' In June 2011, Epworth told that the album would probably be finished 'by the end of July' and described the sound as 'a lot less indie and lot more soulful'. He also indicated that there were 16 songs up for inclusion on the album, but that this would be reduced upon the time of release.
Confirmed on 23 August 2011 that the album was produced solely by Epworth. On 12 September 2011, Canadian radio broadcaster revealed that Florence and the Machine's second album would be titled Ceremonials. He also commented on the album by saying, 'I've heard a little more than half the record and it is big, soulful and powerful. Think Adele or but with some serious DNA, especially with the rhythm section.' Regarding the album's title, Welch told, 'It was an art installation done in the '70s, this video piece all done on Super 8, this big procession of kind of coquette-style hippies and all these different colored robes and masks, and it was all to do with color, really saturated, brightly colored pastas and balloons. I saw it a couple years ago, and it was called 'Ceremonials' and then, like, Roman numerals after it. And the word sort of stuck with me, and I think the whole idea of performance, and kind of putting on this outfit and going out almost to find some sort of exorcism or absolution, to kind of get outside yourself, there's a sense of ceremony to it.'
Welch also revealed that she wanted to call the album Violence, stating, 'I wanted to make an album that sounded like the soundtrack to 's, the violence mixed with the classical Shakespearean drama mixed with the pop and the pulp, extreme neon stuff.' In an interview with, she described the album as 'much bigger' and categorised its genre as 'chamber soul', a mixture of. The of Ceremonials contain an essay by English writer, dated 21 September 2011. Promotion. Florence and the Machine performing in June 2011 on theirThe song 'Strangeness and Charm'—which was ultimately included on the deluxe edition of Ceremonials—was debuted on 2 May 2010 at the in, Ireland, during the band's. The song was later recorded live at the on another stop of The Cosmic Love Tour and was included on the re-release of Lungs, titled, along with other live tracks and previously unreleased B-sides.
Welch describes the song as 'about seven minutes long and pretty relentless' and also 'dancey, but it's also dark as well', featuring 'relentless drums and heavy, droning bass.' During their North American tour, Florence and the Machine debuted ' at the in, on 12 June 2011. On 23 August 2011, the song was released as a from the album, along with an accompanying music video.Florence and the Machine embarked on several live performances to promote Ceremonials. The band premiered four tracks from the album—'Only If for a Night', 'Never Let Me Go', 'Heartlines' and 'Spectrum'—at The Creators Project, a partnership between and, in 's neighbourhood on 15 October 2011. They launched the album with an exclusive gig at the in London on 25 October, which was live-streamed on. On 1 November, they performed 'What the Water Gave Me' and 'No Light, No Light' on the British music television show.
On 6 November, the band made their first appearance on, where they performed 'Shake It Out' on the double elimination results show. 'Shake It Out' was also performed on the Irish late-night talk show (28 October), (15 November) and (21 November).They performed 'Shake It Out' and 'What the Water Gave Me' on the show La Musicale in France on 18 November. The following day, Florence and the Machine appeared on the American sketch comedy show for the second time, performing 'Shake It Out' and 'No Light, No Light'. The group stopped by on 25 November for a special set, which included performances of 'Shake It Out', 'What the Water Gave Me', 'Rabbit Heart (Raise It Up)', ' and 'No Light, No Light', as well as a cover of ' by featuring. They performed 'Spectrum' on semi-final results show on 15 December. The band performed at the Los Angeles portion of, which was broadcast live on 31 December on. The band performed 'No Light, No Light' at the at in on 21 February 2012.
On 2 July 2012, a music video for 'Breaking Down' was officially released.The song 'Heartlines' was featured in the 10th episode of the of 's teen drama series, originally aired 5 December 2011. 'Seven Devils' appeared in the trailer to promote the of the series, as well as in the finale of the series, which was broadcast 23 May 2012.
It was also used in the trailer for the 2013 romantic fantasy film. 'Never Let Me Go' was used in the 19th episode of the on 19 April 2012, in the pilot of on 11 October 2012 and in the second episode of the on 26 October 2012 'Leave My Body', 'No Light, No Light' and 'Never Let Me Go' were all featured during the. 'Bedroom Hymns' was featured in a trailer for the 2013 romantic drama film. Singles ' was released on 23 August 2011 as the first taster of Ceremonials. The promotional single debuted at number 24 on the.
It saw moderate chart success elsewhere, reaching number 13 in Ireland, number 15 in New Zealand and number 35 in Australia.' ' was released as the album's official lead single on 30 September 2011. It premiered exclusively on on 14 September 2011. The song peaked at number 12 on the UK Singles Chart, becoming Florence and the Machine's fourth top-20 single.
Internationally, it reached number two on the, while charting inside the top 20 in Austria, New Zealand and Norway, the top 30 in Germany and Switzerland, the top 40 in Australia, and the top 50 in Sweden.' ' was released on 13 January 2012 as the second single from the album.
The single reached number 63 on the UK Singles Chart. The accompanying video, released on 18 November 2011, caused controversy after it was accused of racism due to its perceived use of by an actor in the video, and was also criticised for its depiction of.'
' was released on 30 March 2012 as the third single from the album. The music video was released on 7 March 2012. The track charted at number 82 in the UK, while reaching number three in Australia, the band's highest-peaking single in that country to date.A remix of 'Spectrum' by Scottish DJ and producer, titled ', was released on 5 July 2012 as the album's fourth single. It became the band's first number-one single in both the UK and Ireland.' ' was released as the fifth and final single from the album on 30 November 2012. Directed by Vincent Haycock, the music video debuted on 19 November and features a new single version of the song.
Main article:To promote the album, Florence and the Machine embarked on their second worldwide tour titled the on 13 October 2011. The set list includes songs from the band's two studio albums. The tour included numerous performances at music festivals as that is Welch's favourite way to perform live. During an interview with MTV News, Welch discussed the nature of the tour, saying, 'In a way, it's not going to be too big a production; we've done a lot of quite extravagant stuff, and that's been amazing, but for this tour, it's definitely going to be about showcasing the music. The songs are going to be the most important thing. It will be heavily based on the music. no bells and whistles just yet, we're going to try and keep it quite pure.'
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The tour ended in December 2012, after two years of worldwide touring. Critical reception Professional ratings Aggregate scoresSourceRating7.2/1075/100Review scoresSourceRatingA8/106.0/108/10Ceremonials received generally positive reviews from music critics. At, which assigns a rating out of 100 to reviews from mainstream critics, the album received an average score of 75, based on 36 reviews. Laura Foster of called the album a 'confident, cohesive effort' and found that 'the steady hand of Paul Epworth on production has helped Florence to take the winning formula of her distinctive vocals and melodies, the twinkling harps and thundering drums, and augment it with string arrangements, subtle electro touches, and gospel choirs.'
's Kyle Anderson praised it as a 'confident, unflinching tour de force' and commented, 'If her acclaimed 2009 debut, Lungs, was a scrappy shrine to survival and empowerment, its follow-up is a baroque cathedral, bedecked with ornate tapestries made of ghostly choirs, pagan-rhythmic splendor, and a whole lot of harp.' Critic James Christopher Monger wrote, 'Bigger and bolder than 2009's excellent Lungs, Ceremonials rolls in like fog over the, doling out a heavy-handed mix of -infused anthems and lush, movie trailer-ready ballads that fuse the bluesy, electro-despair of with the ornate, gothic melodrama of and -era.' Margaret Wappler of the found that Welch had 'found a way to honor her appetites for lavish orchestral spectacle while finding the depth and subtlety of her voice'.Barry Nicolson of noted that 'by taking what worked about Lungs and amplifying those qualities to a natural, satisfying conclusion, Florence has made a near-great pop record that should afford her the creative freedom to do whatever the hell she wants next time around.' Writer commented that the album contains 'turbulent ballads, powered by booming drums and vocal chorales rising like distant thunder, full of Welch's banshee wails. The music touches on Celtic melodies, bluesy rock stomps, nods to goth and gospel.'
's viewed Ceremonials as 'a giant, fluid, emotionally resonant album' and stated, 'Contrary to the name she has given her band, the Machine feel organic and human, providing an epic, full-blooded soundtrack to Welch's voodoo, in which rhythm, melody and chanting are employed to drive out neuroses and insecurities, characterised as ghosts and devils.' Rob Harvilla of described Welch as 'a bloodied, bloodying songbird in a gilded cage of immaculately crafted, slow-burn, chest-beating empowerment anthems, gripping steel bars that her elegantly volcanic voice could shred at any moment', adding, 'She's so much better than her material that her material is rendered immaterial.' Michael Hann of concluded that the album 'always sounds wonderful—producer Paul Epworth has created a warm, soft, four-poster featherbed of sound for Welch to emote over—but it never really satisfies.
One yearns for Welch's wonderful voice to be delivering lines of more import than the nonsense she's often delivering here.' In a mixed review, 's Matthew Cole wrote that 'the first four tracks of Ceremonials are essentially flawless', but felt that the album 'can't help but get weaker as it continues, a fact which owes less to the quality of the songwriting than to the album's length. and a far less dynamic second act.'
Andy Gill of expressed, 'In cementing one style, some of the possibilities offered by Lungs have been choked off. The only time Welch and The Machine stray from the formula is the -disco motorik of 'Spectrum'; elsewhere, declamatory piano chords and burring organ underpin the banked, soaring vocals that are her trademark'. 's Ryan Dombal argued, 'Instead of Lungs' largely charming yet discombobulating diversity, Ceremonials suffers from a repetitiveness that's akin to looking at a skyline filled with 100-story behemoths lined-up one after the other, blocking out everything but their own size.' Accolades Ceremonials was named the best album of 2011 by magazine. Magazine ranked it as the second best album of 2011, stating, 'Despite her penchant for emotive gloom, Welch's tales of heartache can be oddly uplifting; when she sings about darkness and demons, we know she will ultimately conquer them.' Entertainment Weekly, on its list of the 10 Best Albums of 2011, listed the album at number five and wrote, 'A big believer in -parting melodrama, she's got the orchestral grandeur to pull it off. Of course, it helps that she attacks the harp as if she were wielding an ax.'
Placed it at number eight on its list of the 10 Best Albums of 2011, noting that 'Shake It Out' and 'What the Water Gave Me' 'possess an anthemic quality, but they're far from the only epic moments on the rock-tinged record, which finds Welch channeling avant-pop luminaries like and Kate Bush.' Slant Magazine included Ceremonials at number 22 on its list of The 25 Best Albums of 2011, commenting that the album is 'steeped in melodrama, with pump organs, choirs, and strings expertly deployed as pure pomp on already rousing singles like 'Shake It Out' and 'No Light, No Light.' But Welch is perfectly capable of doing delicate too, as evidenced by the gorgeously textured lead single 'What the Water Gave Me' and 'Never Let Me Go,' while tracks like 'Lover to Lover' are reminiscent of the at their most soulful.' Ranked the album at number 25 on its list of The 75 Best Albums of 2011, calling it 'an expansive album, haunted by tragedy but boldly offering a comforting embrace in reply.'
Named it the 26th best album of 2011 and claimed, 'A perfect blend of majestic and morose, Ceremonials establishes Welch as one of the most boundary-pushing divas in the business.' Rolling Stone ranked the album at number 27 on its list of the 50 Best Albums of 2011, adding, 'From 'Shake It Out' to the arena-scale of 'Lover to Lover,' Big Red brings it again and again, choirs and string players backing a voice that soars so high, it makes them seem like ants on the ground below.'
Clash, on its list of The Top 40 Albums of 2011, included Ceremonials at number 28 and opined that the album 'heralded the triumphant return of one of Britain's most exciting pop stars. Bettering the sound she first developed on Lungs, the only problem she faces now is deciding which of its massive songs to release as singles.' The NME placed the album at number 31 on its list of the 50 Best Albums of 2011, writing that the album 'amounted to pop in its purest sense, as something grand and strange and with ambitions higher than mere humanity, as the triple-headed priestess-muse Florence depicted on its sleeve suggested.' The album earned the band nominations for British Female Solo Artist and British Album of the Year at the. The following year at the, Ceremonials received a nomination for, and 'Shake It Out' was nominated for. Artwork Tom Beard, longtime collaborator for Florence and the Machine, was the principal photographer for Ceremonials. He shot Florence Welch for the Ceremonials album photography.
The cover photo was reminiscent of posing against a mirror in the garden belonging to. Both were likely influenced by movements. On May of 2019, announced that the cover for Ceremonials would be on permanent display where it showcased the prominent triple-mirrored photo and its inspirations drawn from.
It was praised as having important cultural relevance and cited inspiration from 'early-twentieth-century fashion illustration.' Commercial performance Ceremonials debuted at number one on the, selling approximately 38,000 copies in its first two days of release and 94,050 copies altogether in its first week. It fell to number three the following week, selling 58,278 copies.
On 18 January 2013, Ceremonials was certified double platinum by the (BPI), and by June 2015, it had sold 715,275 copies in the United Kingdom.The album also debuted at number one in Australia, Ireland and New Zealand, and was certified gold by the (ARIA) in its first week of sales. It was ultimately certified triple platinum by the ARIA in early 2013, signalling shipments of 210,000 copies. Selling 105,000 units in its opening week in the United States, Ceremonials entered the at number six, while debuting atop the Alternative Albums, Rock Albums and Digital Albums charts. The album was certified platinum by the (RIAA) on 8 January 2015, and had sold 1,002,000 copies in the US by March 2015. As of May 2012, Ceremonials had sold 2.5 million copies worldwide.
Track listing No.TitleWriter(s)ProducerLength1.' Only If for a Night'. WelchHugall3:3124.' What the Water Gave Me' (video)5:33US deluxe edition and Japanese edition bonus tracks No.TitleLength13.' Remain Nameless'4:0114.' Strangeness and Charm'5:1615.'
Bedroom Hymns'3:0216.' What the Water Gave Me' (demo)3:53Non-US deluxe edition bonus disc No.TitleLength1.' Remain Nameless'4:012.' Strangeness and Charm'5:163.' Bedroom Hymns'3:024.' What the Water Gave Me' (demo)3:535.'
Landscape' (demo)4:026.' Heartlines' (acoustic)5:327.' Shake It Out' (acoustic)4:128.' Breaking Down' (acoustic)3:319.' What the Water Gave Me' ( bonus video)5:33Belgian and Dutch limited festival edition bonus disc No.TitleWriter(s)Length1.' Intro' (Live at )1:502.' Only If for a Night' (Live at Effenaar).
Epworth. The Weeknd5:175.'
' (live from Sydney)4:426.' Lover to Lover' (live from Sydney)3:567.' No Light, No Light' (live from Sydney)4:398.' Shake It Out' (live from Sydney)4:339.' Never Let Me Go' (live at, Stockholm)2:1210.'
. Isabella Summers – production (track 1). Ben Roulston – additional production, engineering (track 1). Austen Jux Chandler – engineering (track 1). Paul Epworth – production (tracks 2, 3).
Mark Rankin – engineering (track 2); production assistance (track 3). Craig Silvey – mixing (tracks 2, 3).
Bryan Wilson – mixing assistance (tracks 2, 3). Ted Jensen – mastering (tracks 2, 3). Eg White – production (track 4). – production, mixing (track 5). – production, mixing (tracks 6–8)Charts.