Bloc Party - Intimacy

Nov 2, 2008

There seems to have been relatively little fanfare surrounding the third album from indie-intellectuals Bloc Party. Barring an announcement saying that they are no longer going to release CD singles, which seems more good sense than an attention seeking stunt, the promotion for Intimacy has been practically non-existent. A simple counter on their website led fans to the first play of the single from Zane Lowe (an act that angered some, who were hoping for a slightly bigger happening), but that was pretty much it.

Never one for shameless self promotion, lead singer Kele Okereke has talked little of the inspiration behind this new offering, entering the public eye only to have a bizarre spat with Sex Pistols singer John Lydon. Listening to the record, this is a confrontation that Okereke won't have relished, the Pistols being a fairly obvious influence on the band, albeit in slightly more subtle tones.

If the band members prefer to keep a low profile, this album is in contrast with those sentiments. Opener 'Ares' is a curveball straight off the bat. Practically nicking its opening beats from 'Setting Sun' by the Chemical Brothers, it's a furious welcome to the album, seemingly channelling Run DMC by way of the punkier side of The Beastie Boys. Hectic and confrontational, it sets the tone for a hit and miss but ultimately interesting set of songs. There's very little let up as it segues into single, 'Mercury', another post-punk blast, all electronics and machine gun drumming permeated with heavy bass and discordant brass. Where the album starts to go wrong is with the rather by-numbers 'Halo'. Indicative of several tracks on the album ('One Month Off', 'Better Than Heaven') this is the sound of the band when they're not testing themselves; the old "if it ain't broke" philosophy. Bloc Party are far more intriguing when they step out of their comfort zone. 'Biko' is a sad, sweet paean, seemingly about the deterioration of a loved one, with a lyrical nod to Kurt Cobain. With its haunting organ and affecting refrain of "toughen up", it could well be the high point of the album. Other tracks stand out as well, in particular 'Signs', which is reminiscent of the quieter moments of Nine Inch Nails; and 'Zephyrus', a sinister effort that brings together sparse beats and a choral arrangement to dramatic effect.

Production duties on Intimacy fell to Jacknife Lee and Paul Epworth, each responsible for a previous Bloc Party album and this shines through, making it an almost schizophrenic affair. On one hand there is a harking back to the more traditional Bloc Party sound, whilst the other shows a band straining to try something new. This accounts for a slightly patchy album, but ultimately one that confirms Bloc Party's place amongst the more intelligent and interesting British bands around.

Harry Powell

Comments: -