- YES! Bloc Party musizieren nicht nur wieder gemeinsam, woran man aufgrund Keles Soloalbum "The Boxer" und der langen Funkstille durchaus zweifeln konnte, sondern verabschieden sich auch von Eurodance-Beats, Drum-Computern und elektronischem Schnickschnack, der noch auf "Intimacy" vorherrschte. Bloc Party sind als Gitarrenrock-Band zurück und bewahren ihre Zukunft, indem sie sich an der Vergangenheit orientieren.
- NO! Zusammen mit ihrem Produzenten Alex Newport (At The Drive-In, The Melvins, The Mars Volta) kreieren Kele Okereke, Russell Lissack, Gordon Moakes und Matt Tong teilweise einen derart aggressiven, wuchtigen Klang und ruppige, heftige Metal-Attacken ("Kettling", "Coliseum" trotz Country-Flair), das es zu schmerzen droht.
- YES! Immer wieder finden sich Songs auf "Four", die auch vom Debütalbum "Silent Alarm" hätten stammen können und die Herzen der Fans höher schlagen lassen werden ("Day Four", "Team A", "Truth").
Großartig war's und hier ist Christophs Bericht zu lesen.
‘So He Begins To Lie’ kickstarts the comeback, and it’s a breath of familiar air. The grinding guitars from Lissack have returned, replete with chunky, effects-sodden hooks and angular squeaks. Lead single ‘Octopus’ is catchy as hell, a staccato burst of trigger-happy riffs with a staggering, infectious chorus focusing on a mysterious “Mary Anna” – hmm… The condescending street lyrics could be toned down however – “Gonna show you how we get down in my hood” is pretty redundant coming from a successful band many years into their career on the world stage.
Bloc Party decided during the writing process to create something raw. As such, the album hosts remnants of the recording process – buzzing amps, studio chatter (including a few words about Kele’s breast) and all the honest mistakes that make us remember that they are human, after all. In this rawness, there’s also a distinct lack of anything Intimacy-related: it seems they’ve ditched the synths entirely in reaction to the adverse response to that album’s foray into electronica.
‘Coliseum’ lurches through the speakers with a country-western intro, reminiscent of Elbow‘s ‘Grounds For Divorce’, before exploding into a dazzling display of Biffy Clyro pop-metal licks and providing some of the most exciting moments in their catalogue. ’3×3′ is an oddly Muse-y take on Bloc Party. Kele’s signature wail reaches epic proportions, backed by tremolo axes in an apocalyptic chorus, before descending to a vicious, hushed whisper of “No means no”, in a kind of angry “Talk To Frank” way. The riot-inspired pandemonium of ‘Kettling’ is a cold hard slab of pre-millennial Smashing Pumpkins, complete with a glorious guitar solo showcasing the breadth of Lissack’s remarkable talent. It’s dark, it’s very heavy and it’s oh so welcome.
The more lethargic cuts from Four sit awkwardly in comparison. ‘Day Four’ grows wearier and wearier until a resounding closing passage erupts: packed full of maudlin strings and the stunning vocal stylings of Mr. Okereke, it might easily have been ripped from the second album. ‘The Healing’ is a quasi-ambient streak of spacey plucking with the introspective shyness that Bloc Party lost when Kele beefed up. ‘Real Talk’ features banjos. These tracks will surely please the first-album fanatics, but can’t seem to find a true home amongst the new cojones Bloc Party wield. Even ‘V.A.L.I.S.’, named after the satellite-deity in Philip K. Dick’s novel of the same name, and ‘Team A’, which are about as Silent Alarm as you’ll find here, feature that caffeine-comedown-jitters guitar sound which defined the group.
This is an all-guns-blazing return for the London foursome, demonstrating a buffet of sounds from previous works and a heap of fresh noises creating, by far, Bloc Party’s heaviest album. This isn’t Silent Alarm, no, but it’s got the same jolt of energy, the same melodic honesty and, crucially, the same calibre of songs. Best of all, it’s not Intimacy.