BLOC PARTY – A Weekend In The City (Webb)
Despite the fact that it won NME album of the year 2006, I was never wholly convinced by Bloc Party’s debut ‘Silent Alarm’. There seemed to be too big a debt to the music of early 80’s PIL and XTC, and not enough of the band’s individuality showing through. Nevertheless, when this one came out I duly bought it, and am pleased to say that this time there are no such doubts. OK, the beginning to ‘Song For Clay (Disappear Here)’ is a little too close to Muse for comfort, but the song itself sets out their manifesto for this album, and that is mature, thoughtful songs played with an energy that was lacking before. ‘Song For Clay’ has been hailed as one of their best ever songs, and it is certainly one that newcomers to the band should seek out as an example of what they do, encompassing as it does all the best elements of the band. ‘Hunting For Witches’ tackles tabloid witch-hunts, in particular those against immigrants, and the spikey tunes adds to the edginess of the lyric. ‘The Prayer’ is the first track to really show the influence of producer Jacknife Lee, with its heavy rhythmic beats underpinning the song, while ‘Uniform’ harks back to their debut for its musical inspiration, but then suddenly takes off in a completely different direction with a dramatic tempo change, riffing guitars and a vocoder on the vocal. A bit schizophrenic but still a good song, and one that shows how the band have grown. ‘On’ might be a drugs song, but is a surprisingly upbeat one, and ‘Where Is Home?’ is Kele Okeroke’s heartfelt rant about being a second generation Nigerian immigrant, and the hassle and oppression that people like him have suffered. The stuttering beats and strained vocal give it an air of tension, and you believe him when he says that ‘In every headline we are reminded that this is not home for us’. ‘I Still Remember’ is a touching song about the burgeoning friendship of two schoolboys, and how one of them wanted to take it one step further but was too scared to do anything about it. Did the other ever know how he felt – we will never know. The album ends with ‘SRXT’, basically a suicide note from a man who could not take the prejudice he encountered at being gay any longer. A sombre song so end on, with a suitably melancholic reading by Okeroke over minimal backing, gradually building up into an emotional crescendo. I must say that I much preferred this album to their last, although I seem to be in a minority in that, with most people rating ‘Silent Alarm’ as a masterpiece, but for me this one has more depth, better songs, and a sense that the band have now found their own voice.