Ever since she first made her striking bow in late 2008 - in floaty outfits that looked like they were made from old doilies from your granny's house - Florence Welch has had more people enraptured with her heartsick laments and lovingly-crafted alt-pop ballads than any other artist in recent memory.

Blessed with a miraculous voice, and a mesmerising stage presence, for the last decade this Machine has been unstoppable. Indeed, her widescreen, stadium-rattling music has spawned a sub-genre of its very own.

With all that in mind, Hot Press would've loved to have been a fly on the wall when the singer first pitched the concept for fourth album High As Hope to her record label. Described as 'less Florence-y' by the songsmith herself, it seems that the star has realised she's at a crossroads.

She's keen to make a change, and that's something I'm sure would've given label heads countless more grey hairs, considering how commercially successful her previous LPs have been. After building a career with otherworldly words and music, High As Hope is Florence's most grounded album to date; a stripped back (by her standards anyway), wistful and world weary affair.

If the likes of now classic cuts such as 'Dog Days Are Over' and 'Kiss With A Fist' are the kind of songs indie kids put on before a big night out, then it's fair to say that a tune like 'The End Of Love' is one you'll play for comfort in the early hours of the morning, to soothe the soul after a disastrous evening.

For much of the record, Florence climbs inside a confessional booth and opens up about her drug abuse ('South London Forever'); a teenage eating disorder ('Hunger'); and her constant worry about disappointing her mother ('Grace'): it makes for an illuminating listen.

On occasion, the thought occurs that if there were less soul-baring and more stadium-sized bangers, High As Hope might be a more winning record. There are times when the intimate arrangements and gloom-tinged lyrics get a little claustrophobic (particularly on 'Sky Full Of Song'). The nostalgic, 'back in my day' vibe throughout is also slightly odd, when you consider that Welch is still only 31.

When she gets things right though, the Londoner does land some knock-out blows. Slow-burning opener 'June' sees that spectacular voice soar, while 'Big God' is almost Bad Seeds-esque, with wonderfully weird vocal rumblings and strong, powerful brass.

High As Hope marks an interesting weave for Florence + The Machine. We reckon her record label may be hoping that she will go back to the big booming ways of old. Then again, if enough hearts are moved and tears are shed in response, this could be a huge hit.

Rating: 6/10