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“I can be cruel to you,” Okereke croons in an endless mantra, as the catharsis swirls toward infinity.Īs they demonstrated on the electronic-heavy Intimacy, Bloc Party ain’t scared of overdubs. But “Selfish Son” closes out the album with a rare moment of brilliance - a lighter-waiver ballad laced with a laser-show dual-guitar solo, Tong’s trademark percussive splatter, and loads of twinkling glockenspiel. “Selfish Son” (Bonus track from Napster and Rhapsody versions of A Weekend In The City, 2007)Ī Weekend in the City is Bloc Party’s patchiest LP, a mix of ill-fitting new textures (the sample-driven “Hunting For Witches”) and re-hashed choruses from Silent Alarm.
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If I left off your favorite, feel free to ring the Silent Alarm in the comments section. These are Bloc Party’s 10 best songs, as I see them. And even though this is a catalogue filled with inconsistencies, Bloc Party have still managed some seriously transcendent shit in their chaotic eight-year life-span. (Hell, just after announcing the hiatus, Lissack dropped the news of the band’s upcoming EP, Nextwave Sessions). Who knows whether or not this split will prove permanent? If there’s one thing we’ve learned being Bloc Party fans, it’s to disregard logic. It’s possible Bloc Party isn’t big enough to contain Bloc Party. This is a band filled with intensely colorful personalities: Tong is one of the most visceral drummers in all of rock Okereke is both new-wave dream-boat and spawn-of-Rotten Brit-punk prince. Not all of the sonic shifts have worked, but even their most awkward moments (for example, the Pro-Tool’ed patchwork that is “Hunting For Witches”) are anthemic in their own dorky way. They later swept the incident under the rug, claiming it was a joke.)Įver since Silent Alarm’s solitary moment of brilliance, the band has struggled to re-define itself with each album - adding lush layers of sampling and strings to 2007’s A Weekend in the City, embracing an expansive, electronic-heavy palette with 2008’s Intimacy, and peeling back with a gritty, de-tuned menace on Four.
(In September of 2011, the frontman told NME: “I hope I haven’t been fired from the band,” after spotting the other three en-route to a mysterious rehearsal. This isn’t their first flirtation with a break-up: Four was recorded after a brief hiatus, during which time Okereke explored a solo career and the band enjoyed in a slew of tabloid-bait drama. Maybe we’ll play an amazing show and we’ll be on a real high and then the next day some minor thing will happen and everyone hates each other.”īut Bloc Party have never exactly been built for the long haul, anyway. “That’s quite representative of all the relationships in the band. It’s such a roller coaster of extreme highs and extreme lows,'” Lissack said. “My wife came on tour for two days and said, ‘Your life, I can’t handle it.
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Just this past month - not even a full year since the release of their most recent album, Four - Lissack dropped a surprising bombshell to The National Post, noting the band will enter an “indefinite hiatus” after the completion of their summer tour.
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It was also the first chapter in what seemed like a beautiful new era - signaling a revival of the artful, capital-G Guitar Rock long missing in the mainstream since The Bends.Įight years later, it’s unclear whether Bloc Party is even a band at all. It was funky yet punky, heavy yet elegant, familiar yet totally fresh. Every song felt like an urgent mission statement, delivered with razor-sharp chops and a blindsiding emotional wallop. The British quartet wrangled explosive melodrama from the simplest of rock ‘n’ roll tools: the crossfire guitars of Kele Okereke and Russell Lissack, the caffeinated rhythmic thrust of bassist Gordon Moakes and drummer Matt Tong, and Okereke’s snotty, live-wire yelp. Back in 2005, the year of their stellar debut album, Silent Alarm, Bloc Party truly felt invincible.