Florence and the Machine

Florence and the MachineBy Alexandra Walker

The flame-haired lead singer and songwriter of Florence and the Machine, Florence Leontine Mary Welch, is a very intriguing artist with many talents and many interesting ways of creating the dark and entrancing music that she has become so well known for.1Born in Camberwell, London on August 28, 1986Father: Nick Welch works as an Ad ExecutiveMother: Evelyn Welch teaches art history (American, Renaissance)Exposure to art inspired her music

Florence AKA Flo Martyrdom of St. Agatha

Florence, known to those closest to her as Flo, was born in Camberwell, London, on August 28, 1986. Her mother, Evelyn Welch is a Harvard-educated woman who now teaches American art history and Renaissance art history. It is said that the early exposure to the Renaissance paintings that her Mother used in her classes was a large influence in her music that Florence describes as very emotional and passionate. Florence was especially intrigued with Mantegna's Circumcision of Christ, and by various paintings of the martyrdom of St Agatha, who had her breasts cut off. (www.dailymail.co.uk) Her father, Nick Welch was an ad executive during Florences childhood and is still working in advertising to this day.2

Growing upMusic filled her homeObsession with Movie SoundtracksEarliest memory dancing with father to Rolling Stones

Growing up music filled her home; she enjoyed listening to the CDs that her father owned which led to an obsession with the soundtracks from movies, some of her favorites being Rocky Horror Picture Show, and Pulp Fiction. In fact one of her earliest childhood memories was standing on top of the trunk where her dad kept his vinyl collection, dancing with him to the Rolling Stones. (http://www.florenceandthemachine.net/biography/1-2) 3School lifeWent to Alleyns School as a childDiagnosed with dyspraxiaGot in trouble for singing in class

As a child Florence went to Alleyns School in southeast London, where she was diagnosed with dyspraxia, a form of dyslexia which effects the ability to organize rather than the usual form of dyslexia which effects the ability to read. During grade school Florence often got in trouble for singing during class, a habit that was hard for her to break.4First RealizationsSang in school performance of Bugsy MalonePlayed the lead as Blousey BrownSang at funerals

The moment her Father first realized that Florence was gifted was when she was in a school performance. Her father talks about this experience saying It happened during a performance of Bugsy Malone at her school, Alleyn's, in Dulwich. Florence was ten or 11 and she was playing the lead female part of Blousey Brown. At school productions parents are usually interested only in the efforts of their own offspring, but when Florence sang the whole audience was suddenly fully engaged. I remember thinking: 'Cripes, she's got a voice - this is serious.' It wasn't just her perfect pitch - she had the essence of phrasing and timing which makes a good singer great. (http://www.dailymail.co.uk) After this performance Florence was asked to sing at her Grandfathers funeral and after singing at this funeral she was asked to sing at many other funerals. 5First songFirst song entitled My Boy Builds Coffins

Not long after these funerals Florence wrote her first song which was entitled My Boy Builds Coffins. When her Father questioned her about the dark imagery that this song was full of she stated simply You made me sing at funerals. What do you expect?6Life change

TOXIC COCKROACHES

Mother fell in love with neighbor and moved family next doorA nightmare to begin withRebellion leads to Toxic Cockroaches

When Florence was 13 years old her Mother fell in love with their neighbor and moved her family next door to live with him and his three children. Florence describes the situation saying We get on brilliantly now, but it was a nightmare then. I just used to stay in my room and dance around. The divorce of her parents and the move sent Florence into a rebellion, where she became punk and even started a band called Toxic Cockroaches.7collegeCamberwell School of ArtSang with AshokFoolishly signs contractLeaves Ashok and the school

After grade school she went to college at the Camberwell School of art, a school she got into because of a large floral sign that she designed in which she insults herself. She stayed at this school for a while during which time she was singing with a band called Ashok. She recorded an album with Ashok that was named plans. She was 19 at the time and having signed a contract without fully discussing it with either her parents or a lawyer was finding she was quite unhappy. Her Father called a music lawyer that he was familiar and was able to get her out of her contract with Ashok at which time she promised that she would be more careful when signing music contracts.8New management

Traps Mairead Nash in WashroomGets signed with Island RecordsMatched with backing bandFlorence Robot Isa Machine Releases singles leading to album Lungs

When she found the Manager that she is working with currently, she had a somewhat unconventional meeting with her, a meeting that her father describes saying Florence engaged her present manager, Mairead Nash, one half of the achingly fashionable Queens Of Noize club night promoters, by trapping her in a club washroom and singing an Etta James song at full volume. (http://www.dailymail.co.uk) Mairead Nash signed on Florence with Island Records and matched her with a backing band that would eventually become Florence and the Machine, a band that was originally called Florence Robot Isa Machine, a name that came from her childhood friend Isabella Machine Summers, who is the keyboard player in the band with her and fellow band mates Rob Ackroyd on Guitar, Chris Hayden on Drums, and Tom Monger who plays the harp. In 2008 Florence released the singles Kiss with a Fist, and Dog Days are Over. In 2009 she released another single called Rabbit Heart (Raise Up) before releasing her album with Florence and the Machine called Lungs.9Lifestyle

Party GirlStay out all night!Writes best when drunkLifes like a consistent acid trip

As an adult she describes herself as a party girl and when asked what her idea of fun was she replied My idea of a good time is, OK, first you start with two or three mates at a pub, then go to a rave, then back to the pub with your mates, then go to a park, then a restaurant, then back to the pub and the matesThose were glorious days. The night you stay out all night is amazing, it's so fleeting because you know you'll feel terrible soon, but right now it's the best, before the crash, so every second of that day is magical. (www.usatoday.com) She says that she writes her best music when she is drunk or hung over because thats when the freedom, the feral music comes, creating itself wildly from the fragments gathered in her notebooks and in her head. Youre lucid, but youre not really there. Youre floating through your own thoughts, and you can pick out what you need. I like those weird connections in the universe. I feel that lifes like a consistent acid trip, those times when things keep coming back. (http://www.florenceandthemachine.net/biography/0-1)10Needs release because shes so seriousVery specific detailsNew album should be violence mixed with dramaNonviolent personality, cant argue

But seriously

Florence is said to need all of the partying and giddy release (www.usatoday.com) because of how serious she is about her music. She knows what she wants when it comes to her music and she is very specific in every detail that goes into each piece. She wants her new album Ceremonials to Hammer her vision home saying that her vision was to make an album that sounded like the soundtrack to Baz Luhrmann's Romeo + Juliet, the violence mixed with the classical Shakespearean drama mixed with the pop and the pulp, extreme neon stuffOh, and the violence. Mmm. The word itself I'm obsessed with. I wanted to call this whole record just Violence. A violent emotion. You can feel things violently. It's a beautiful wordI'm such a non-violent person, too. I keep so much inside. I'm the least aggressive person ever. I can't argue (www.usatoday.com)11Simple magic

Songs are simpleEverything about boysMusic is entrancing, Romantic and EmotiveHer words and passion create a magic and enticement!

When told that people read deeply into her lyrics coming up with many dark tales she replies saying that her songs are usually simple. Everything is about boys! The whole album is about love and pain. People see my lyrics as crazy, but to me its an honest, heartfelt album. I didnt set out to be wacky. I just want it to be emotive. (http://www.florenceandthemachine.net/biography/1-2) When she described music she said Lets talk about magic. Because music, at its best, is a kind of magic that lifts you up and takes you somewhere else. I want my music to sound like throwing yourself out of a tree, or off a tall building, or as if youre being sucked down into the ocean and you cant breathe. Its something overwhelming and all-encompassing that fills you up, and youre either going to explode with it, or youre just going to disappear. (http://www.florenceandthemachine.net/biography/0-1) Many people who have listened to her music would agree that it does just that. Her music is entrancing and romantic and full of emotion. It has a ghostly sound that pierces your soul and sends you off to distant land full of fairytale dreams and devilish nightmares. Florence has succeeded in her wish to create something that is magical and enticing and she will continue to entice people with her words and her passion.12Composition historyNo Light, No LightShake It OutSeven Devils

The songs that I chose to do are: No Light, No LightShake it OutSeven Devils13No light, no lightWritten by: Florence Welch and Isabella SummersProduced by: Paul EpworthRecorded at: Abbey Road studiosWritten while on tourInfluenced by alcohol

The first song that I chose is entitled No Light, No Light. This piece was written by both Florence Welch and Isabella Summers, for their new album called Ceremonials. This song was produced by Paul Epworth who has helped Florence Welch write many of the pieces in the Ceremonials album. This song was recorded at Abbey Road Studios but was published through Island Records, the recording company that Florence has been working with since her first album lungs. No Light, No Light, the first of the songs that were written for the Ceremonials album, was actually written while the band Florence and the Machine were on tour in Amsterdam. Some of the things that influenced the song are: the sound the bus tires made against the road, which inspired a low somewhat monotone sound that is in the background of the song, Florences inability to talk directly to her boyfriend at the time influenced the lyrics, specifically the portion of the song where she says would you leave me if I told you what Ive done? And would you leave me if I told you what Ive become? Cause its so easy to sing it to a crowd. But its so hard, my love, to say it to you out loud. Another thing that influenced this song was the fact that while writing it Florence and Isabella were under the influence of alcohol. The song was written while they were drunk and while they were hung-over, which is something that Florence actually does quite often as she believes it helps in the writing process. Florence and the Machine preformed this song for the first time on November 1st, 2011. They also performed this song on the 20th of November, 2011 on Saturday Night Live, and again on January 14th, 2012 for the Brit Awards.

14Shake it outWritten by: Florence Welch and Paul EpworthProduced by: Paul EpworthRecorded at: Abbey Road StudiosReleased on 14th of September 2011Written as a way to shake off a hangover

The second song that I chose is entitled Shake it Out. This piece was also written by Florence Welch, who writes all of the songs on the Florence and the Machine albums, as well as Paul Epworth who also produced this song just as he did with No Light, No Light as well as Tom Hull. This song was also recorded in 2011 at the Abbey Road Studios and was published by Island records as was the entire Ceremonials album from which this song comes. This song was originally released on the 14th of September 2011, but was not performed live until a few months later when Florence and the Machine went on the popular British Television show called The X Factor, which was started by Simon Cowell, who became known in the US as the hard hearted insulting judge on American Idol. This performance took place on November 6th, 2011. Florence and the Machine also performed this piece on the 21st of November, 2011 for the American Television show Good Morning America. Something that influenced this song was the regrets that Florence had been carrying that she said she wanted to shake off. She also said that she started writing this song as a way to shake off a hang-over and she said that as soon as she started focusing on the lyrics the hang-over went away proving to herself that this song truly could shake off a hang-over.15Seven devilsWritten by: Florence Welch and Paul EpworthProduced by: Paul EpworthRecorded at: Abbey Road StudiosInspired by a 70s art pieceInfluenced by Baz LuhrmannsRomeo + JulietVivid dream of the visiting dead

The third song that I chose is entitled Seven Devils. This song has a dark imagery that many people are interpreting in many different ways. This song was written by Florence Welch as well as Paul Epworth just as the song Shake is Out was. Paul Epworth also produced this song that was recorded at Abbey Road Studios as one of the twelve songs written for the album entitled Ceremonials. This song was published by Island records just like the two previous songs were. This song was released on the first of November, 2011, and just two weeks later was performed live in Sydney at the Seymour Center on the 15th of November, 2011. This song, like much of the Ceremonials album, was inspired by 70s art pieces that caught Florences eye. She said that she originally wanted to call the album violence because of the passion that is so clearly stated in these pieces. Florence also said that part of her influence for this song and some of the others on the Ceremonials album was Baz Luhrmanns Romeo + Juliet. Florence also spoke in an interview saying that one of the songs on the Ceremonials album was influenced by a very vivid dream she had where she believes that her deceased Grandmother came to visit her and told her dark stories, which has led some to believe that this was the song to which Florence was referring.16Listening guide

In this section the details of the songs will be written in the notes section and the organization that is used for the songs will be written on the slide17No Light, no lightIntro Verse 1ChorusShift in ChorusVerse 2(Repetitious) Verse 3Chorus with alternate endingBridgeChorusShift in Chorus(Repetitious) Verse 3 with alternate ending(Repetitious) Verse 3 with an additional alternate endingFade out

18No Light, no lightFlorence + The Machine - No Light, No Light YouTube

0:00 Introduction, this piece begins with only the percussive instruments that give us a nice beat but no real tune as of yet. These drums also fade in slowly so they do not have a sudden beginning.0:11 Here the tune is introduced also fading in incorporating smoothly with the beat that began the music. The drums are at their loudest when the music finally starts in and the music fades in much faster than the drums did. The music is just one chord that is held for an extended period of time, in this case 12 counts, until the next tone is played.0:17 At this point the drumming that started the piece stops leaving only the tonal music to support itself. The music during this point is still just one chord at a time that is held these tones last 8 counts each.0:28 Here the main vocals are still silent but the background singers join the tones that are being played. They are depicted in the music video as prepubescent males so they are able to reach a high note that has a somewhat haunting feel. 0:31 Here Florence begins to sing the first verse at a much lower register than the background singers. The Background singers are still singing the very high tone that they were singing before the verse began. The music has a slight descending contour to begin with but begins to slowly change into an ascending contour.0:37 Background singers begin here to highlight the last two words of each sentence that Florence sings. They sing a much high note than Florence sings so it gives a nice harmony that keeps the feel smooth.1:03 Here the chorus begins; Florence keeps a fairly small range through this part of the chorus but is joined in a harmony with the background singers. During this part of the chorus the percussion gives a solid base that easily shows the beat of the piece (this song was written in quadruple meter or common time). There is also a coda placed at 1:04 that we will use when we need to come back to this part of the piece, I will call this coda A.1:15 During this part of the chorus the song shifts the tempo slightly as well as the style of Florences singing. She changes from singing in a fairly staccato fashion to a smooth extension of her voice. There is another coda placed here at 1:19 that we will use to come back to on a different verse, I will call this coda B. There is another coda placed on 1:31 that we will use later in the piece, I will call this coda C.1:34 Verse two begins here. The rhythm of this verse is different from verse one. This verse stays fairly steady but has a very slight descending contour. During this verse Florence also slows down her singing and plays softer (piano). 2:02 This is where the style of writing shifts a bit from a normal popular song because this is where verse 3 comes in, the difference is that this verse becomes repetitious. She repeats this verse a few other times in the song though it would not be considered part of the chorus. This section is very upbeat and the volume has gone back up to forte. She also speeds up the wording giving the music a feel of a more rushed tempo though the meter does not shift.2:16 This is where the chorus comes in again though at 2:17 we go back to coda A and repeat the chorus exactly as we sang it in the first section. This gives a sense of familiarity to the listener.2:44 Here we jump to coda B which gives a different ending to the chorus which ends by overlapping a note from the bridge which is coming up next.2:45 This is where the bridge comes in. During the bridge Florence changes the tempo to a much slower and softer timing. The bridge is sung at lower notes than the rest of the song which gives a much different feel. 3:01 Here the bridge slows dramatically as she starts to extend the words even longer than before but she builds volume getting the listener ready for the peak of the song.3:13 Here Florence holds high A as she sings the word loud she holds this note for an impressive 24 counts solidly before adding a bit of personal flair at the end of the note using the last four counts that she sings.3:20 During this part drums come in to support Florences holding of the word loud giving it an even more impressive finish.3:25 Here loud fades at the end instead of a sudden end of the note which may have caused a disjunction in the music.3:27 Here the chorus comes in again as we go back to coda A again repeating the first chorus exactly as we did in the first two times.3:39 Here the chorus shifts tempo as it begins to move slower just as we did in the chorus before.3:42 Here we go to coda C which shifts the end of the chorus changing not only the tempo but also shifts directly into the repetitious verse 3 which is sped up and played in forte.4:08 Here the ending of the repetitious verse 3 is changed slightly which extends 4 counts where the vocals are silent and only the background is playing as a form of a fill except the drums are not alone. The repetitious verse is repeated here once more.4:22 Here the ending of the repetitious verse 3 is changed where the sentence you want a revelation is replaced by the final sentence of tell me what you want me to say.4:26 The vocals rest here then the music does a quick fade before finally ending.4:32 The actual end

19Shake it outIntroTheme A phrase ATheme B phrase ATheme A Phrase BTheme B phrase BChorusTheme B phrase CChorus with add onBridgeChorusChorusExtended fade out20Shake it outFlorence + The Machine - Shake It Out - YouTube

0:00 Introduction, the song begins by using a low almost monotone sound to begin a very short introduction, this is a note that is used throughout the entire piece and was inspired by the sound that the tires from the tour bus made against the street.0:02 The song was not written with the usual verse-chorus form but instead she uses a form similar to that used when turning poetry into music. Here Florence begins singing what would be the first verse but because of the way it was written I will call it Theme A Phrase A as it coincides with another section that comes later in the piece. This section has an overall descending contour feel to it though the entire section does not follow it specifically.0:20 Here Florence begins singing what I call Theme B Phrase A because this section does not follow the first section and actually coincides with two other sections that come later in the piece she uses a repetitious phrase at the end of these sections that help identify which other sections they coincide with. This section is written with a sort of wave effect as it first has an arch contour then it repeats the arch as it first rises then steadily comes back down multiple times. The phrase ends however in a descending contour.0:37 This is the section that I call Theme A Phrase B because it is very similar to the first section. Florence uses a repetitious phrase on the third line when she sings I can see no way, I can see no way just as she did in the first section. This section has an overall feel of ascending contour and Florence uses a dramatic ascending contour when she says the words I can see no way and repeats it when she repeats the phrase. Each word in that particular sentence goes up beginning at F then proceeding to G then to A then to B flat then to high C. The second time she says that sentence she brings the tail end of way back down to B flat. Also in this section she speeds up the timing between her words and plays louder making it seem as if she sped the tempo without actually changing it from its original quadruple meter (also known as common time).0:56 This is the section that I refer to as Theme B Phrase B because it is so similar to the phrase that she sung as the second section. Here she uses the repetitious phrase of I like to keep my issues drawn, its always darkest before the dawn. This place in the music is also where the repeat bar is placed to that the band knows where to come back to for the next section after the chorus. This section starts with a fairly steady arch before becoming fairly steady without using much ascending or descending contours. During this section there is also a homophonic feel as the piano actually plays the same melody that Florence is singing.1:13 Here the chorus begins, this piece of music is already pretty upbeat having been written with 120bpm which can be considered either moderato or allegro, but this part is played even louder (forte) which makes the chorus seem extremely upbeat giving the illusion that the music could be going even faster. This section stays pretty level until the part where she says and its hard to dance with a devil on your back, during this part the music begins to descend leading into an arch contour where it goes up and then back down again. During the chorus the notes seem to have a staccato sense though it is not actually written as such.1:29 There is a fill here where the drums play for a full four count measure that gives a nice intro into the next section without giving the feel of a disjunction within the music. During this time the vocals rest although the accompaniment does not. This is also the place where the repeat bar ends which signals the band to go back to where is repeat bar began.1:32 Here Theme B Phrase C begins. In this section the melody is the same one that was played in Theme B Phrase B, so the feel of the music stays the same although the lyrics are changed so as to give a feel of change.1:49 Here the chorus begins again although this section of the chorus comes with an add on. During this section of the chorus the music follows the same melody as the chorus did the first time where is stays steady for the most part until she begins the phrase when speaking about the devil on your back.2:07 This is the time when the add on actually occurs. The add on does not follow the same melody as the chorus however as it has the feel of a wave again although this wave is less dramatic and is instead more spread out, which is similar to the feel of some of the sections before this and although it does have a repetitious phrase when she says its always darkest before the dawn but this section does not quite fit with the ones from the past sections which is why I would consider this an add on.2:25 During this section the main vocals rest though the background singers do fill the vocal silence twice, first at 0:26 then again at 0:30 during which time the background and base music continue flowing perfectly.2:33 This is where the bridge begins, this section gives the feel of a change in the music that is conjunct so as to not create dissonance for the listener. This section of the music has an overall descending contour though it does occasionally arch during this section the music has an almost minor feel to it that makes it seem darker until it changes to the higher notes when she begins speaking of heaven during which time the music seems to lift slightly.3:00 During this part of the music there is a crescendo where she builds up the sound and the momentum to lead into the chorus which is the next section.3:09 Here Florence repeats the Chorus twice the first time beginning at this point in the music. During this section the chorus follows the same melody and feel that it did in the past although she uses the technique of heterophony by using a background sound of oohs that she recorded separately. This is also where another repeat bar begins informing us that this is the place to come back to when the repeat bar ends. During this chorus the band plays in forte again making the sound build giving it even more energy.3:27 This is the place in the music where Florence sings the chorus going back to where the repeat bar began. This section is just like the last chorus was including the background oohs as well as being played in forte with a lot of energy.3:45 During this section of music Florence begins to end the piece by singing Oohs in a tune that has a flowing feel that is continuous arches going up and then down and then back up again. This helps to give a smooth finish without simply fading the words of the chorus which has been used many times.4:02 During this section the percussion instruments that have been used throughout the song stop giving the end a very smooth finish as the oohs continue to follow the same pattern that they have been doing.4:20 At this point in the music the oohs stop as the vocals have the symbol to rest as the song is coming to a close.4:23 Here the music descends with a sort of electronic winding down sound that gives this section a sort of finality.4:25 Here the music truly starts fading, but the fade is a very slow one and lasts for a longer time than one would think.4:33 the song actually ends at this moment in time.21Seven devilsIntroVerse 1 with extensionChorus (part one)Chorus (part 2)Verse 2Chorus Part oneChorus Part 2 with extended endingBridge (part 1)Bridge part 2Chorus part 2Vocals extend into fade out

22Seven devilsFlorence and The Machine-Seven Devils GOOD QUALITY - YouTube

0:00 Introduction fades in slowly using an ascending contour of pure tones that slowly build. A symbol also fades in giving some percussive form to the beginning tones of the music beginning very softly slowly building until the vocals begin (pp to p to f to ff).0:22 Florence begins to sing verse one pausing between each portion of the sentences for at least 4 counts emphasizing her words when she finally sings them. The first half of this verse is sung using descending contour but the second half of the verse is sung with ascending contour.0:53 Here the general form shifts as Florence extends verse one as she keeps the contour fairly steady with slight shifts both up and down though not in an exact arch pattern. Although she does keep the tone mostly steady she does give the song a bit more range as she sings about rivers. When she sing this note she goes higher than she has during the song as of yet.1:26 This is the place where the chorus begins. During which she harmonizes with her background singers giving a smooth consonance. She is also using the technique of homophony as the piano matches her melody adding to the smooth sound of her voice combining with that of her background singers.1:43 Here the chorus is broken into two parts where she repeats the sound of the chorus but changes my to your when she is referring to the house. This is still considered part of the chorus because the sound is blended directly into the two without causing a disjunction.2:02 Here the main vocals take a rest giving a symmetry to the silences that she took while she was singing the first verse.2:06 Here Florence comes back in harmonizing with the background singers though not harmonizing with the piano this time. She sings the words before the day is done using a solid descending contour as she extends the words putting emphasis on each of them.2:12 Here Florence again takes a silence letting the background music continue again giving a symmetry to the first verse as she did the last time she took a silence using this time as a tool to create the intended form.2:17 This is the part where verse two comes in as she uses a repeat bar to go back to the beginning matching the second and first verse exactly using the same contour and silences and emphasis making sure to pause before each phrase of the lyrics giving the music the form that she wants.2:48 Here the chorus comes in again using the same form as she did the first time she sang the chorus using two parts again but blending them together smoothly to create a seemingly one part chorus.3:04 Here the second part of the chorus comes in matching every detail of the first time she sang this part of her song.3:23 Here Florence takes another deliberate silence in the vocals using the silence to create emphasis on the words she sings.3:28 Here she again repeats before the day is done slowing the tempo holding the notes out as long as she can before moving onto the next word.3:36 Here Florence uses a second ending that changes the form slightly as she again repeats before the day is done repeating it two more times creating extra emphasis on this part of the song before leading into the bridge which is what comes next.3:54 This is where part one of the bridge comes in. She again uses separate parts to create form though she blends them together using the background singers and harmony to create consonance.4:11 Here she uses the first ending to the bridge using a repeat bar so that she can go back and copy the music exactly as she sings during this section of the bridge so that the second part matches the music exactly changing only the ending of the bridge.4:12 Here Florence sings the second part of the bridge mirroring the sound that she used during the first part of the bridge only changing the lyrics from they keep me out till I tear the walls till I save your heart and I take your soul to and what has been done can-not be undone in the evils heart, in the evil soul.4:26 Here Florence changes the ending of the bridge taking us straight into the second part of the chorus keeping the music identical only leaving out the first part where she speaks of her own house.4:46 Here Florence again uses silence to build the form of her song emphasizing the lyrics without making them louder.4:50 Here Florence repeats the sentence before the day is done creating a final emphasis on these last lyrics.4:54 Here the music fades out very quickly only taking 2 counts of music to fade completely into the ending silence.23bibliographyContactMusic. Florence and the Machine. 2012. February 2012 .Glamour. Florence Welch. 2012. February 2012 .Intuned Media. Florence Welch's Bio. 2011. February 2012 .Tiscali UK Limited. Florence Welch - Biography. 2012. February 2012 My sources24Bibliography continuedUnknown. Sheet Music Direct. 2012. February 2012 .USA Today. Florence Welch:Quirky Mind Behind the Machine. 2012. February 2012 .website, A prettygood*. Florence and the Machine. 2012. February 2012 .. Florence and the Machine. 2012. February 2012 .My sources25Bibliography continued. Florence and the Machine. 2012. February 2012 .. Florence and the Machine. 2012. February 2012 .Welch, Nick. She's the achingly fashionable singer from Florence And The Machine. To me she's just the Daffy Diva... but I am her dad. 25 July 2009. February 2012 .My sources26Florence Take a bow!Images obtained from common search engines and are the property of those public sites

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