It seems like a long time ago but it was only four years ago that 4 young Brits: Kele, Russell, Gordon and Matt burst onto the scene with their own unique, challenging and breath-taking interpretation of the UK Post-Punk Revival which had grown as a trend throughout the first half of the 2000s. Bloc Party began with a string of Singles and EPs which attracted the interest of music journalists and tech-savvy teenagers alike, in a similar way that the Strokes had done around 2000/ 2001 and how the Arctic Monkey’s would in a much more larger, "astroturfing" sort of way. Their debut album, Silent Alarm was released in 2005 to massive critical acclaim and commercial popularity from all areas of the music listening public. Their sophomore effort A Weekend in the City saw them take a step away from a lot of the other bands who were crowding a similar sort of market and they undertook a concept album of sorts which was more laid back, almost avant-garde but which, perhaps, lacked the exciting edge that their debut had.
And so the band reach their third album, at what seems like a make or break time. As with A Weekend In The City they have decided not to try and recreate they’re previous success but instead to pick a new direction and challenge people. From the start, Bloc Party’s third full length poses one main question: “So, you think you know Bloc Party?” In an album which presents such a style change, this question is a very important one. The first track Ares absolutely screams this at the top of its lungs. “I want to declare a war!” Kele Okereke sings in this rip-roaring opener. “We’re definitely not in Indie-Rock-land anymore” says the metaphorical Dorothy to the metaphorical Toto. Ares is followed by Mercury, the album’s lead single, which also takes quite a confrontational approach and adds heavy electronics and also horns to the band’s sound.
Halo seems a slight reversion to the style of Silent Alarm and Biko is slight lull (but a failry pleasant lull at that.) Next comes the track Trojan Horse (continuing the Greek mythology theme present throughout a few of the album’s track titles) which is yet another up front, in your face track but which introduces Russell Lissack properly to the album with some rather over-the top guitar riffs. Then, the dust settles and we are treated to on of the album’s highlights, Signs, a beautiful song beginning with a xylophone loop and eventually introducing synths (now measured rather than in your face) and Kele’s soft vocals muttering in your ear in a melancholy way only hinted at during Waiting For The 7:18.
Now a rather pleasant end to the album begins where the new, electronic littered sound is matched against some of the older charm and quality which made them so popular. This all culminates in the amazing closer, Ion Square. This song represents what is great about this album, while I still know that this is Bloc Party, the same band that brought such musical joys in the past, I am also reminded of other bands and what they have done. I think Radiohead, I think Bjork and LCD Soundsystem, I even think Animal Collective for a weird, brief, split second before I realise how mistaken I am.
This album may not quite be the all conquering third album in the same way that OK Computer was for Radiohead (or even in an experimental way like Kid A was.) But, I think Bloc Party are happy and comfortable with their position as a band, and you know what? So am I.
Intimacy is available to download now from www.BlocParty.com and will be available in shops and online music stores from October 27th.
