I’ve seen Florence Black play live a few times in the last few years and each time I have, you can’t fail to notice the improvement in them.
They might, in fact, be the most improved band in the UK. Their “Weight Of The World” record from 2021 was a step up from their EP’s and now there’s this.
And if “….World” was an statement, “Bed Of Nails” is a victory lap.
From the opening riff of “Start Again” you can only imagine them playing this live. There’s a bit where it drops and things get heavy, man. The house lights will go up right about then. If I’m wrong, then I’ll be amazed.
More prosaic, though is this. I’d contend that not only are Florence Black arguably the best rock band in the UK right now, they might be the most varied too.
There aren’t many who are capable of blending the genuine heavy moments (the opener is moshpit ready) with the melody they have. Indeed, “Don’t Hold Me Down” mixes it all together and there’s even some harsh vocals from Tristan Thomas and drummer Perry Davies.
As if to prove the point, the title cut is at once barren, ominous and swaggering. “We can blow the world away” goes its hook. From here that sounds like a mission statement. And, as I often say, if this was a over-hyped and autotuned US band (we’ll mention no names here) then they’re already in arenas.
That the next one, “Taxman” is a singalong slice of fun is in keeping. Bonus points for rhyming “Taxman” with “relax, man” too.
The absolute beauty, though (at least for people of a certain vintage) is the hard rock banger of “Look Up”. Def Leppard went gold for less. Let’s just say, a rock is very much not out of the question.
Along the way, playing with everyone they have, Florence Black have developed a real skill. A maturity, if you like. They’ve got a grasp of tone that is as good as anyone. “Warning Sign” underlines that for the avoidance of doubt.
If that ends side 1, in old money, then “Beautiful Lover” opens side 2 with a mid-paced chug. And you wonder if this one, more than the rest is autobiographical. “I found you in the Limelight” sings Thomas, “Where I tried to hide” and maybe theres an element of that here.
“The Way Home” ups the pace and then some. The last time I saw them they opened for Airbourne. Its not hard to hear that here, or at a push Buckcherry. Whatever, it turbocharges the album. And Thomas (who also is the band’s guitar player) is in sensational form.
The phrase “modern rock” brings with it connotations for some (see also “classic rock”) but if Florence Black play that, then “Solid 9” is as good as it gets, and the depth that comes with the likes of “Rockin’ Ring” with all its eerie opening cannot be overlooked here. It’s also heavier than just about any of their peers (although Florence Black have always been proud outsiders as their early exchanges with journalists – including me – would suggest even back then).
They have always been adept at changing pace. The acoustic “The Forest” does that here, a folky warm breeze, it sets the tone for the end of the album. “Back To The End” is almost tinged with country and a hook the size of Merthyr Tydfil. If I was Kelly Jones, I’d be stealing it and sticking it on the next Stereophonics record.
If you want one word to sum up “Bed Of Nails”, then I’ll give you this one: confidence. A record this good doesn’t get made without it. A record so good, in fact, that it almost doesn’t matter what I think, you think, or anyone else suggests. The three friends from South Wales, Florence Black know it’s the best they could have done and that’s all that matters.
Except for this: I don’t know if February 1st is too early to call the album of the year, but at the risk of going too early, then if you find a rock album better than this in 2024, then I’ll be surprised.
Rating 10/10
