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Met dank aan de originele posters indien het niet door mij geript is...
Thanks to the original posters if not ripped by myself...

01 - Florence + The Machine - Everybody Scream - Everybody Scream.flac 
02 - Florence + The Machine - Everybody Scream - One Of The Greats.flac 
03 - Florence + The Machine - Everybody Scream - Witch Dance.flac 
04 - Florence + The Machine - Everybody Scream - Sympathy Magic.flac 
05 - Florence + The Machine - Everybody Scream - Perfume And Milk.flac 
06 - Florence + The Machine - Everybody Scream - Buckle.flac 
07 - Florence + The Machine - Everybody Scream - Kraken.flac 
08 - Florence + The Machine - Everybody Scream - The Old Religion.flac 
09 - Florence + The Machine - Everybody Scream - Drink Deep.flac 
10 - Florence + The Machine - Everybody Scream - Music By Men.flac 
11 - Florence + The Machine - Everybody Scream - You Can Have It All.flac 
12 - Florence + The Machine - Everybody Scream - And Love.flac 
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991 - Lossless Audio Checker.log 
992 - AccurateRipNotCorrectGaplessRip.log 
999 - cover.jpg 
999 - Discogs Downloaded Cover 01.jpg 
999 - Discogs Downloaded Cover 02.jpg 
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Florence + The Machine - And Love.lrc 
Florence + The Machine - Buckle.lrc 
Florence + The Machine - Drink Deep.lrc 
Florence + The Machine - Everybody Scream.lrc 
Florence + The Machine - Kraken.lrc 
Florence + The Machine - Music By Men.lrc 
Florence + The Machine - One Of The Greats.lrc 
Florence + The Machine - Perfume And Milk.lrc 
Florence + The Machine - Sympathy Magic.lrc 
Florence + The Machine - The Old Religion.lrc 
Florence + The Machine - Witch Dance.lrc 
Florence + The Machine - You Can Have It All.lrc 
Exystence Review ---------------
Florence + The Machine – Everybody Scream (2025)
Filed Under: indie-pop by driX — 3 Comments
October 30, 2025

Since the release of their groundbreaking debut album Lungs in 2009, alt-rock group Florence + The Machine have not only carved their own space in the modern music scene – 
they have established their own unique world. A sonic and aesthetic domain fueled by rage, the divine feminine and the comfort of witchcraft, 
Florence + The Machine have become synonymous with the carnal, primal and unknown.
Fronted by the one and only Florence Welch, Florence + The Machine are preparing for the release of their sixth studio album Everybody Scream, out via Polydor Records. 
The album is destined for a Halloween release, as it will undoubtedly serve as the band’s most intentional and unrelenting body of work to date 
Everybody Scream explores personal struggle, the excruciating desire to pursue the life of a performer and how darkness and trauma can inspire creation.
Combining the full-force, poetic delivery of Patti Smith with the ethereal vocal prowess and stage presence of Stevie Nicks, 
Florence + The Machine is powered by the hypnotic persona of Welch, who uses influences of witchcraft, folk horror and mystery to craft the music of the band. 
On Everybody Scream, album singles like the title track, “One of the Greats” and “Sympathy Magic” prove that the album is not just a collection of songs to listen to — 
it’s a spiritual tale to fall into the depths of.
Since breaking into the music scene with Lungs, the London-based indie rock group have only continued to rise in stardom due to their distinct sonic identity. 
Following the release of their debut album, the band had their music appear in a variety of film and TV projects, including Grey’s Anatomy, Gossip Girl, The Twilight Saga, and So You Think You Can Dance. Their first three albums — Lungs (2009), Ceremonials (2011) and How Big, How Blue, How Beautiful (2015) — all earned the number one spot on the U.K. Albums Chart. In the years following, the band have headlined numerous festivals and how hold a total of eight Grammy nominations.
One of the U.K.’s most prominent outfits, Florence + The Machine are known for their romantic, medieval energy. Refusing to confine themselves to a single genre, 
the band combines influences of Baroque pop, folk, soul, and rock ‘n’ roll with their intense lyricality to craft an entire musical world. 
Everybody Scream explores death, life, grief and hope, making it one of the band’s most personal and visceral releases to date.


Spotnet Information ------------
On her self-deprecating, viscera-flecked sixth record, Florence Welch picks apart the compulsions and contradictions of fame
The title track of Everybody Scream provides a suitably striking opening for Florence + the Machine’s sixth album. A sinister organ and a choir of voices 
harmonise in the style of a horror theme, replaced in short order by the sound of screaming and a stomping glam rock rhythm; 
instead of the shouts of “Hey!” that traditionally punctuated a glitterbeat in the 70s, there are distaff cries of “Dance!” and “Turn!” 
Its sound offers a corrective to the notion that whenever the National’s Aaron Dessner appears as co-producer in an album’s credits, as he does here, 
it means the artist in question is striving for tastefully hued indie folk – the sound he brought to Taylor Swift’s 2020 albums Folklore and Evermore, 
Ed Sheeran’s Autumn Variations and the mistier moments of Gracie Abrams’ The Secret of Us. 
It also provides a backdrop over which Florence Welch can ruminate on what sounds like a very complicated relationship with fame. 
She says she can only become her “full size” on stage and openly relishes the control she can exert over an audience, “breathless and begging and screaming”. 
Equally, there appears to be a downside. “Look at me run myself ragged, blood on the stage,” she sings. “But how can I leave when you’re calling my name?”
Amid the stuff about paganism, witchcraft and the references to 14th-century mystic Julian of Norwich, this appears to be the central theme of Everybody Scream: 
the push and pull of fame, a compulsive desire to perform that overwhelms everything in ways that seem unhealthy. 
It crops up again and again, sometimes in visceral terms linked to the grim events of 2023, when complications from a miscarried ectopic pregnancy left 
Welch needing emergency life-saving surgery mid-tour – “I crawled up from under the earth, broken nails and coughing dirt, spitting out my songs so you could sing along,” 
opens One of the Greats, over grumbling, Velvet Underground-ish guitar courtesy of Idles’ Mark Bowen – and sometimes with a winning kind of self-deprecating humour. 
Music by Men details a relationship in crisis, scorns Welch’s partner, then shifts the blame on to herself. The problem with life offstage, she notes ruefully, is that “there’s not much applause”.
It’s a relationship that Welch is well placed to examine. Seventeen years on from the release of her debut single, Kiss with a Fist, she could 
reasonably claim to be the most consistently successful British alt-rock artist of her era, with the possible exception of Arctic Monkeys. 
At least in terms of influence over modern pop, she dwarfs Alex Turner: being sampled by Kendrick Lamar and Drake; tapped as a collaborator by 
Taylor Swift and Lady Gaga; hailed as an inspiration by Beyoncé; and her sound clearly in the DNA of Ethel Cain, Chappell Roan and the Last Dinner Party. 
It’s a position from which Welch can look back at the equivocal critical response to her early work with a degree of I-knew-I-was-right relish: 
on One of the Greats, she blames her early lukewarm reviews on sexism. Responding to your critics in song is a fraught business – 
there’s a danger of coming up with something so indignant it makes the listener wonder if they may not have had a point – but One of the Greats does it with a smart, 
spiky humour that feels particularly effective given that a certain high seriousness about her wilfully OTT theatricality was among the criticisms 
laid at Welch’s door: “I’ll be up there with the men and the 10 other women in the hundred greatest records of all time / It must be nice to be a man and make boring music just because you can.”
‘The closest I came to making life was the closest I came to death’: Florence Welch on sexism, screaming and the lost pregnancy that nearly killed her
Of course, wilfully OTT theatricality is what sold Welch so many albums in the first place and it’s here in spades. No one’s going to come away from 
Everybody Scream complaining about a paucity of big choruses and impassioned operatic vocal extemporisations. But there’s more light and shade here than you might expect, 
a greater desire to set the volume low than crank it up to 11: the crescendos of Drink Deep (ululating vocals) and You Can Have It All (pounding drums, 
discordant A Day in the Life strings) are more impactful because they’re separated by Music by Men, which sets Welch’s voice to nothing more than a strummed 
acoustic guitar and a very light sprinkling of piano, letting her undoubted melodic facility shine. 
Witch Dance and Sympathy Magic metaphorically throw the kitchen sink at you – the second reprises the thumping percussive approach of her debut album Lungs, 
but chucks in a huge rave-breakdown synth for good measure. They’re succeeded by Perfume and Milk, and Buckle, both relatively intimate and unadorned.
“All of my peers they had such potential … I kissed them goodbye and let them drown,” sings Welch on Kraken, a line that seems to reflect her unique position 
among her class of 2008 indie contemporaries. More rounded musically and emotionally than the caricature version of Florence + the Machine may lead you to expect, 
Everybody Scream is an album that suggests she’s wearing her hard-earned status rather well.

Oor Review ---------------------
Siem Henskens 31 oktober 2025 album pop Florence + The Machine Everybody Scream POLYDOR/UNIVERSAL
Wanneer iemand met de stem en vocale capaciteiten van Florence Welch een nieuwe plaat genaamd Everybody Scream uitbrengt, vlak na een gitzwarte bladzijde uit haar leven, 
weet je alvast zeker dat het gaat donderen en bliksemen als nooit tevoren.
En stormen doet het: het inmiddels drie jaar oude Dance Forever (2022), toen een duistere noot in het repertoire van de band, klinkt in vergelijking met Everybody Scream als een poeslief folkalbum.
Helaas is daar alle reden toe.
Medio 2023 bleek Welch zwanger te zijn, maar het betrof een buitenbaarmoederlijke zwangerschap waarvoor ze later zelf een levensreddende operatie moest ondergaan.
Tien dagen later stond de zangeres weer op het podium.
De frontvrouw heeft vaak genoeg geprobeerd een muzikale pauze te nemen, maar op Everybody Scream hoor je precies waarom dat voor de Engelse simpelweg onmogelijk is.
‘I don’t have to be quiet and I don’t have to be kind’, opent het vocale kanon uit Londen therapeutisch de plaat.
Ze vervolgt in One Of The Greats: ‘It’s funny how men don’t find power very sexy.’ Het medicijn voor alle verdriet blijkt in eerste instantie zowel tekstueel als muzikaal in de hekserij te liggen.
Het is voor de altijd mythologisch ingestelde artieste een manier om alle chaos en verdriet te kanaliseren tot iets wat vrouwelijke kracht en een levensscheppend vermogen omvat.
We hoorden de band dan ook nog nooit eerder zo rusteloos en tartend; een keuze die eigenlijk geen keuze is, maar een noodzaak.
‘I used to think I knew what sadness was, I was wrong.’ Het is een laatste zuchtje misère voordat de frontvrouw zichzelf op de borst klopt en in You Can Have It All 
onder begeleiding van James Bond-achtige strijkers bewijst de hele wereld aan te kunnen.
Everybody Scream is niet de plaat die Florence + The Machine terug naar hun Lungs-sterrendom gaat katapulteren; het zal Welch en consorten een rotzorg zijn.
Wél is