Bloc Party Another Weekend In The City Download
Bloc Party are one of Britain’s most enduring but curious indie rock successes. Their career bolted out of the gate with their era-defining 2005 debut album Silent Alarm.
Aug 28, 2008 - Kele Okereke and his bandmates in Bloc Party are truly cognizant of the times. Rock bands preceding them have done: they released the album as a free digital download with a pre-or. I couldn't stand Bloc Party's 2007 release, A Weekend in the City. It's simply another song ruined by ambition. Sep 9, 2008 - Bloc Party - Another Weekend In The City. We Were Lovers 02. Cain Said To Abel 03. Version 2.0 04. The Once And Future King 05.
Earnest, emotional, frenetic – it helped shape the tone for a raft of guitar-driven groups that came in its wake, only for Bloc Party to jettison and expand from a sound they helped popularise. From the prolific late ‘00s period that produced their next two albums, A Weekend In The City and Intimacy, to the line-up changes that resulted in 2016’s more subdued Hymns, they’ve incorporated more ambitious elements and electronic sounds in order to push forward.
The ups and downs of their career have been defined by experimenting in order to reach new audiences and creative territory, their ever-changing sound unified by frontman Kele Okereke. Now, on the eve of Bloc Party returning to Australia next month to perform Silent Alarm in full, Kele joins us for an inside look back at what they’ve achieved, and what happens next. The Inside Story of Bloc Party Author: Al Newstead. Media buzz around Bloc Party’s 2004 EPs (May’s self-titled debut and December’s Little Thoughts) was glowing but dominated by references to Gang of Four (a group the band says they didn’t hear until after Silent Alarm) and the post-punk revival – a movement Bloc Party didn’t want to be lumped in with, and which frontman Kele Okereke didn’t identify. “I personally didn’t understand because I wasn’t so into that kind of music,” he tells Double J’s Gemma Pike in 2018. Heading to Copenhagen in mid-2004, for a six-week stint at Delta Lab Studios to record their debut album with producer Paul Epworth, the band was keen to make something that couldn’t be typecast as “pale, grey and skinny” post-punk. To craft music with body, life, and a pulse.
“Making Silent Alarm, we were conscious we wanted to something that felt completely in technicolour. It wasn’t just this spiky, scratchy cool-sounding thing. It was important to show there was a sense of depth and roundness to the music that we wanted to make. That was the only gameplan really, that we knew we had to prove ourselves.” The quartet drew inspiration from the music that bonded them growing up as ‘alternative kids’ in inner-London – American underground acts like Sonic Youth, Pavement; atmospheric post-rock by Mogwai and Godspeed You! Black Emperor, and the late-night club world where they’d congregate to dance and party. “We wanted there to be dancefloor moments That was a big part of what we were about, so we wanted there to be a nod or wink to the atmospherics and dynamics of dance and electronic music.” Those seemingly disparate elements come together beautifully on Silent Alarm. The album begins with Russell Lissack’s cascading washes of processed guitar, crafting space and atmosphere before drummer Matt Tong’s hissing hi-hats surge into a muscular pulse that just makes you want to move.
Gordon Moakes’ inventive bassline unfurls itself late in the first verse, an understated but essential part of the track’s momentum. ‘Like Eating Glass’ is a call to arms, underscored by Okereke’s unmistakable vocals - his accented voice careening through the mix like an impassioned yelp, every phrase feeling like its punctuated with an exclamation mark (‘ It’s so cold! ‘Like Eating Glass’ cleverly introduces you, one by one, to the elements that make Silent Alarm so infectious: the energy, rhythmic interplay, and explosive melodrama.
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