ALBUM REVIEW: Bloc Party
- Posted on September 4, 2008 5:07 PM
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Bloc Party
Intimacy
Review by Chris Todd
It can't be easy being Bloc Party. Coming from the school of 2005's influx of post-punk influenced indie bands rising from the ashes of The Libertines, Bloc Party were always a different proposition but oddly tied in with the Top Shop indie bands with nice hair adorned in their trendy 'skinnies'. Ever since they became one of the UK’s biggest new acts, they’ve spent more time trying to move away from the sound which put them in the position they hold now.
Their debut 'Silent Alarm' was an outstanding piece of indie pop which is one of very few albums from these shores this decade that will stand the test of time. Since then, things haven't gone so well, their second album, 2007's 'A weekend in the city' was a mess of confusion from a band desperate to cut all ties with their past achievements which instead of consolidating the good work they did with their debut, alienated their fan-base with its foray into electronica and beats which also failed to gain new fans. Let's face it, what other UK band knocking around could have come up with something like FLUX or even have the nerve to try mixing up Giorgio Moroder style synth stabs, 145 bpm trance 4/4 beats and indie?
So to this, their third effort which thus far has had the tag 'shock release' attached to it. Yes, recording was completed literally two weeks ago but Radiohead and The Raconteurs have done the same thing within the past year and with rapid releases due to become the 'norm' to prevent illegal downloading, there is nothing shocking about it, although it is exciting.
'Ares' sets the scene with its urgent riffage and clattering Chemical Brothers beats and Kele's declaration to "Get outta the way or get fucked up!” Latest single 'Mercury' has too much happening in it, you'd be forgiven for thinking you were hearing a load of Grand National horses falling down some stairs whilst 'Halo' harks back to the earliest Bloc Party releases with it's unsubtle punk and almost heavy metal inspired riffs.
From hereon in, 'Intimacy' is nothing short of thrilling, the usual lyrical fare of love, loss and partying are on the agenda but musically, this is the furthest Bloc Party have pushed themselves with fantastic results.
The jittery electronica of 'Biko' is reminiscent of 'Kid A' era Radiohead, the lyrics being about losing a lover; "was my love not strong enough, to bring you back from the death, if I could eat your cancer, I will but I can't, so I keep writing these songs for you, to steal you from your grave so we can dance in our front room, again".
'Trojan Horse' is drum and bass appropriated by real instruments, Russell's itching guitar lines and electro influenced percussion all smothered with one of Kele's finest vocal is easily one of the finest songs they'll ever make whilst still being in classic Bloc Party mode.
'One month off’ is furious live electro backed with pissed off slices of guitar in the vein of Death from Above 1979 and lyrics showing off a hidden dry sense of humour from Kele;
"When we started this it was paradise ,not just Bethnal green, and it's just not right this waiting game making a cuckold of me".
Elsewhere, there is android r n b on 'Zepherus' backed oddly by the Exmoor Singers London choir and dark drum n bass influences on 'Better than heaven' which has you start to think the track may be a bit dull throws the electronic shield away for some classic hard rocking from the band.
Easily the finest track however is closer 'Ion Square'. Otherworldly ethereal shoegaze influences reminiscent of The Maps back some of Kele's most personal lyrical musings; "Cos I love my mind when I'm fucking you, slowed down to a crawl, years of crime and the bread line have not at all dimmed your shine. So let's stay in, let the sofa be our car, let’s stay in, let the TV be our stars".
So, what have we learnt? Well, Bloc Party don't want to be Bloc Party any more than Radiohead want to be Radiohead and they no longer sound like a bad TV on The Radio for kids.
The excursions they attempted on their last album this time come off with flying colours and at just over 40 minutes long, it's just the right length to get intimate without having to clean up after yourselves. 8/10
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