A new Bloc Party album is always a lesson in how to ignore the rule book. You never know what the band is going to throw at you and the only thing you can do is buckle in and hope to enjoy the ride. Known for its strong melodies and distinct British sound, Bloc Party has garnered a rapid underground fan base after it released its debut single in 2005, the indie-classic “Banquet.” The band has been trying to push boundaries ever since. On its third studio album, Intimacy, Bloc Party tries to capture the best of both of its worlds, from sprawling synth-rock to intimate ballads. The band nearly achieves it.
From the beginning, it’s clear that Bloc Party is moving in a new direction. The chaotic opener, “Ares,” features heavy electric guitars, zigzagging synths and a chanted chorus of “We dance to the sound of sirens!” The follow-up and first single, “Mercury,” is strikingly similar. For a second, the listener might be scared that Bloc Party has thrown its ability to craft simple yet fresh melodies out the window. Thankfully, by the time the first half of the album closes, this fear has been put to rest.
While songs like “Halo” and “Biko” are strong, the album reaches its pinnacle at the halfway point. Starting with a jingling of bells, a light string section and a steady percussion, “Signs” captures everything that is likable about Bloc Party. The melancholy lyrics deal with a lost love and are full of poignancy — “I see signs now all the time, that you’re not dead, you’re sleeping / I believe in anything, that brings you back, haunting me.” Lead singer Kele Okereke’s vocals sound great, and he is smart enough not to overshadow the even better instrumentation. The piece builds into a song that could be played on the dance floor, though everyone would be in tears. Its follow-up, “One Month Off,” is its complete opposite but just as excellent. Filled with big guitars, scattered synths and shouting vocals, it is the one song on the album most reminiscent of “Banquet.”
Unfortunately, the album does not continue this winning streak all the way to the end. The album’s biggest misstep comes in the form of the odd “Zephyrus.” Distinctively different from the get-go with its clapping beat, it also sets itself apart by thrusting Okereke’s vocals to the forefront. With his unique voice, he is more than a capable vocalist. Nevertheless, he sounds bizarre when flanked by peculiar choral voices and not the usual layered synthesizers.
The album closer, “Your Visits Are Getting Shorter,” sums up the album terrifically. Sounding like it was written with the Pet Shop Boys — alas, it was not — it has flashes of brilliance and works overall despite a few duff moments. It is different and not for beginners — Bloc Party has grown from the early days of “Banquet.” If you are willing to strap in knowing there will be a few speed bumps along the way, however, you will find it is worth the ride.
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