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“So you think that people who suffer together would be more connected than people who are content?”
Review: Challenging the cogency of a relationship based on penance, “What Kind Of Man” does little to advance the gothic chamber-pop sound of Florence + the Machine’s majestic – if at times exhaustingly cohesive – 2011 album Ceremonials, and is all the better for it.
The band’s decision to lead their third studio album How Big, How Blue, How Beautiful with a more straightforward gospel-inspired pop-rock number may appear to be a bold move, but the dramatic bombast of their music has always had less to do with the production hallmarks slung by longtime collaborators such as Paul Epworth and Eg White – bewitching multi-tracked harmonies, cacophonous drums, probable abuse of the mixing desk’s “reverb” button – than it does with Florence Welch’s peerless voice. “What Kind Of Man” finds this voice as bellowing and as gutsy as ever, instantly giving the track an air of celestial hysteria that its jagged guitar and Will Gregory’s warm brass arrangements seem eager to avoid.
Like Rihanna’s “We Found Love”, the emotional impact of “What Kind Of Man” is similarly indebted to its video’s prologue, a touching snapshot of a couple ricocheting between carnal adoration and chilly indifference. The reluctance of Welch’s boyfriend to “intervene” with her night terrors reflects the principle of celebrated suffering that the song rages against in its ghostly extended intro: “So I’d reasoned I was drunk enough to deal with it / You were on the other side / Like always, you could never make up your mind”. This preamble soundtracks flashes of all they stand to lose (steamy sex, balcony-set kisses, romantic estrangement) amongst some cultish shenanigans that emphasise the sense of guilt, obligation and self-flagellation that stand as the main pillars of their relationship, culminating in the one-two punch of a car collision and grouchy guitar licks that may have you wishing that such a high-quality visual were for a better song.
“What Kind Of Man” is not a bad single by any means, but in ditching the dense production that embellished some of the band’s very best songs, it seems the intricate melodies of tracks like “No Light, No Light” and “Only If For A Night” (a Ceremonials cut so good that even Rihanna thinks it’s ripe for sampling) were also sacrificed, and as a result there is little to unpack upon subsequent listens. It is almost entirely down to Welch’s visceral delivery to elevate the track, and it is only her thickest rallying cries (such as her out-for-blood shriek of “What kind of man loves like this?”) that manage to leave much of an impression.