Albumus 101: Bloc Party, Intimacy

#3. Bloc Party. Intimacy

Overview

So, another indie album graces ‘the list’, but hold on I hear you cry, where is ‘Silent Alarm’? Why in the name of various deities have you chose Bloc Party’s third (and some suggest last) album? Surely their spiky, arty, intelligent debut is a far better candidate for inclusion?

Well you have an argument, if this list was limited to one release per band or something silly like that then ‘Silent Alarm’ might well be sitting here, gleaming in its own brilliance before you. However ‘Intimacy’ is not only a brilliant, emotion filled album, it is also an exampleof a band departing from the musical formula that made them famous and, for one, pulling it off spectacularly well.

Therefore, you should own this album.



Recorded secretly and rush released from nowhere ‘Intimacy’ saw the band tear up their own rule book in a pretty dramatic style. Following the musical trend set by the previously released single Flux (you know, that big dancy song, see above); No one really expected it, despite singer Kele Okereke spending more and more interview time talking about his love of dance music and annoyance at the limitations of guitars it was sort of take as read that Flux was a flash in the pan and that come album three ‘the Bloc’ would be back with more angular guitars, thumping bass lines and everyone it would think it was 1982 and post-punk was alive and well.

So the fact they released a streamlined, dance floor album full of synth and sampling, really shows you how far you should trust the music press.

The Album

There are sirens and the wail of distorted guitar. The drums crash into spastic life and the bass follows suit. ‘War, war, war, war, I want to declare a war’ yells Mr Okereke and we’re off as the first track, ‘Ares’, kicks into life. Yet while described in words this may sound fairly standard Bloc Party fair, in the flesh its very different. The verses are accompanied by the beat and little else and the sirens, along with vocal wails, dominated the rest as much as the guitar. A synthy anti-breakdown three quarters of the way in and by the time you’re finished the track you know this is no ordinary Bloc Party album. Hell, by the time you’re finished the second track, ‘Mercury’, looped vocals and more spastic drums, you’ll know that this is no ordinary album. Certainly in the ‘indie’ scene of 2008 this was a pretty ‘out there’ effort.
It’s not just here that the band decided to ditch straight up indie-rock. ‘Talons’ and ‘One Month Off’ (both subsequent singles) are full of rushing electro wizardry that accompanies and often outshines Russel Lisarks (as ever) masterfully understated guitar lines.

When the album drops pace the same is true, on ‘Ion Square’ they sound like a different band, this time with uplifting vocals and matching music, again of the electronic variety. Then there is ‘Zephyrus’, possibly my favourite track off the album. It sounds more like a track off ‘The Boxer’ (Kele’s solo album). Electronic drums, choral backing and some pretty bleak lyrics (‘And all you said, in your quietest voice, was ‘I needed you as much as they do’’, owch Kele, treat your lover better!) make for a stand out track of the bands entire discography, a bit like the downer cousin of ‘I Still Remember’, but better than that sounds.



Now as much as I’ve harped on about the lack of guitars (an important point), they’re not entirely missing. Indeed ‘Halo’ is a full blown and highly listenable blast that would have sat easily on ‘Silent Alarm’ or ‘Weekend in the City’. ‘Trojan Horse’ too is guitar heavy, admittedly with a smothering of effects, and throughout the album if you turn it up enough you can hear some devilish work being done on the frets.

However, as I’ve hinted, it is the lack of guitars on much of this album that makes it strong. Not only is it a brave new sound, but it also serves to give Okereke’s lyrics a helping hand along. Many critics have pointed to Bloc Party’s lyrics on ‘Weekend…’ as be over personal and a tad cringy. Now I can see where they’re coming from, though I don’t really agree, lines like ‘After sex, the bitter taste, been fooled again, the search continues’ (from ‘Kreuzberg’) might not float everyone’s boat in a guitar heavy rocker. But set in sweet, electronic heavy background Kele’s more emotional lyrics sound beautiful rather than awkward. Sure lyrics about foie gras may not fit even that, but listen to ‘Zephyrus’ or ‘Biko’ and I challenge you not to be at least slightly moved.

So there you go, another album you should buy, listen to it, love it.


P.s. Apologies for potential horrific spelling of names, I’m writing this while packing to go away. I beg the pardon of anyone offended by this aberration upon music geekdom.