"Ship to Wreck" stars with Florence in the heat of the breakup, angry and blaming herself for the relationship becoming a failure; there's a strong emphasis on the pronoun "I" (ex: "Did I drink too much? Am I losing touch? Did I build a ship to wreck?"). After this, Florence turns her anger outward, blaming not herself, but the man in "What Kind of Man."
This is when the first revelation comes in the album in "How Big, How Blue, How Beautiful," where she begins to acknowledge that maybe there is something more at work, that maybe it was some sort of fate. And in "Queen of Peace" and "Various Storms and Saints," she begins to see the bigger picture that maybe their relationship was doomed from the beginning.
That's when "Delilah" comes on, and Florence relapses back into some sort of rage, angry that the relationship still failed. She's screaming and almost panicking in the song, when she takes a step back in "Long and Lost," acknowledging a spiral of heavy emotions at play.
In "Caught," she's contemplating her decisions; she can continue her spiral of intense anger/intense sorrow/intense self-analysis or seek some other idea. Then, in "Third Eye," she starts to realize that a new door is opening up: self-love and recognition that she can't feel pity. As she says, "she's the same, try'na change."
This is when it gets weird; the album looks like it could end here, but instead Florence does two things. First, in "St Jude," she calls upon the Patron Saint of Lost Causes because she has nothing left to do. She sings to the heaven above in a solemn hymn. But then she spins 180 degrees in "Mother," shouting to the Earth to save her. It goes from begging to commanding in one song.
Alright, here's my album arch thought:
"Ship to Wreck" stars with Florence in the heat of the breakup, angry and blaming herself for the relationship becoming a failure; there's a strong emphasis on the pronoun "I" (ex: "Did I drink too much? Am I losing touch? Did I build a ship to wreck?"). After this, Florence turns her anger outward, blaming not herself, but the man in "What Kind of Man."
This is when the first revelation comes in the album in "How Big, How Blue, How Beautiful," where she begins to acknowledge that maybe there is something more at work, that maybe it was some sort of fate. And in "Queen of Peace" and "Various Storms and Saints," she begins to see the bigger picture that maybe their relationship was doomed from the beginning.
That's when "Delilah" comes on, and Florence relapses back into some sort of rage, angry that the relationship still failed. She's screaming and almost panicking in the song, when she takes a step back in "Long and Lost," acknowledging a spiral of heavy emotions at play.
In "Caught," she's contemplating her decisions; she can continue her spiral of intense anger/intense sorrow/intense self-analysis or seek some other idea. Then, in "Third Eye," she starts to realize that a new door is opening up: self-love and recognition that she can't feel pity. As she says, "she's the same, try'na change."
This is when it gets weird; the album looks like it could end here, but instead Florence does two things. First, in "St Jude," she calls upon the Patron Saint of Lost Causes because she has nothing left to do. She sings to the heaven above in a solemn hymn. But then she spins 180 degrees in "Mother," shouting to the Earth to save her. It goes from begging to commanding in one song.
That's my two cents, love the album though!