“Rather Be” by Clean Bandit featuring Jess Glynne is a song that originated in the UK, took Europe by storm and also made its way into the American Billboard charts. Most reviews I’ve read applaud the song’s “freshness”. For me, it is certainly fresh in the sense of light and joyful – and I do love its happy-go-lucky vibe – but not so much in the sense of new or unique. Let me tell you why.
Picking and choosing
I believe that what makes this song so likeable is the fact that it sounds like we’ve heard it before. “Rather Be” isn’t exactly original, but it cleverly unites various elements we’ve heard elsewhere. For example, the use of strings in dance music is a tradition that goes way back: think 70s disco hits like those of Chic, or the soundtrack to Saturday Night Fever. Granted, these songs usually feature a full violin section as opposed to the solo instruments used by Clean Bandit, but the concept is by no means new.
Other elements of “Rather Be” remind me of early 90s dancefloor hits. The piano riff in the chorus – especially as it is played from 2:23 – reminds me a lot of the piano parts in, say, Madonna’s “Vogue” (1990) and CeCe Peniston’s “Finally” (1991). Also, compare the synth organ riff in “Gypsy Woman” (1991) by Crystal Waters, or the synth in “What is Love?” (1993) by Haddaway. On top of that, I can’t help thinking of 2Unlimited’s “No Limit” (1993) when I hear that “No no no no no” hook.
Colouring by numbers
Then there are other aspects that are typical for dance, like the way the drums build up, starting at 0:32 with a simple four-on-the-floor beat, getting fuller and more complex from section to section, of course culminating in the hook (“No no no no no / No place I’d rather be”). Then there’s the break at 2:52 where the vocals are left a cappella, only to soar into a final repetition of the chorus. All of these aspects contribute towards the general sense of familiarity when we hear this song. Cleverly done by the band.
Fusion that works
Clean Bandit’s sound is basically a “fusion” of electronic and classical elements, with a varying proportion of strings in each track. In 2013 the band released the intriguingly weird single “Mozart’s House”, which to me sounds as if a string quartet was caught rehearsing next door to Daft Punk back in 1997. In “Rather Be”, however, the strings play a comparatively small role, and the song would work just as well without them. Admittedly, they introduce the riff at the very beginning of the song, but as soon as Jess Glynne starts to sing, the synth takes over, and from then onwards they just add texture here and there. I think the understated use of strings in this song was wise, as the worst thing the band could have done would’ve been to crowbar the strings in just to make a point. Good judgment is vital when trying to make a “fusion” concept work – and, let’s face it, it’s a concept that can go embarrassingly wrong.
I also like their signature synth sounds, which call to mind vintage Atari games; they create a rhythmic carpet that forms a contrast to the smooth vocal melody and the legato lines in the strings.
As far as the vocals are concerned, I’m pleased to see that full voices with character and warmth are enjoying a comeback, after all the nasal-voiced ladies who dominated British pop from the late 2000s. It seems there is a general trend towards a new sound ideal.
Conclusion
“Rather Be” is a catchy, to my ears very European-sounding song, and I’m curious to hear the rest of Clean Bandit’s debut album, “New Eyes”, scheduled to be released at the end of May or early June. From what I’ve heard of it, it should present a coherent overall picture, with some tracks more on the deep house end of the scale and others more pop oriented in the style of “Rather Be”.
No comments:
Post a Comment