Bloc Party unleashed their third album, Intimacy, on the public after an announcement on a webchat. It came as a surprise initially, as frontman Kele Okereke had already stated in previous interviews that the band were expecting to release the album early next year. Whether the early release was done for the shock effect, or as an attempt to avoid the huge (and some would say damaging) hype their sophomore album, A Weekend in the City, received, Intimacy had came out of nowhere.
Opener “Ares” begins with a Sigur Rós-style opening chime that quickly mutates into a guitar scream, and Okereke starts the bumpy journey. It’s pleasing that a band of Bloc Party’s stature, would put a song like this to tape. That’s not to say the song is perfect, because the lyrics are far from it, like much of the album. For example, on “Trojan Horse,” clunky lines like “You used to take your watch off/before we made love/you didn’t want to share our time with anyone” fail to put doubts of Okereke’s ability of songwriting to rest. It is becoming clear that one of the worst instruments in the Bloc Party arsenal are the vocals.
The record’s production is difficult to comprehend. Most of the songs have significant distortion, making it hard to determine if that was the intent or if it was the result of a rushed release. Both of the band’s previous producers, Paul Epworth and Jacknife Lee, are on the reigns, and while the production isn’t anything to write home about, there is no conflict of production on individual songs. This is an album of songs that belong together. “One Month Off” and “Mercury,” while significantly cleaner sounding than other songs, have too much going on within the recordings, making it hard to digest.
Despite the flaws, there are some great moments on the record. “Better Than Heaven” begins on a beat and some fuzz bass, building up gradually until its truly epic climax, and could be high up on the best-of lists of the band’s back catalogue. The album’s centerpiece, “Signs,” is also a beautiful mix of music-box chimes and bells, bringing to mind Aphex Twin’s “Nannou.” “Halo” also feels like a nice departure, one of the few times the dirty production really works. “Ion Square” brings the album to a swell close. Coming in at six minutes, it’s long, but it does not feel stretched. “Zepherus” is another song for which the band should be credited for branching out. The song is reminiscent of Björk in many ways, but the focus being on the lyrics is a bit of a negative, as there is nothing special on this front.
Intimacy is a difficult record, but there is one thing that is certain: all hope for Bloc Party is not lost yet. Perhaps they’ll find their feet on their fourth album, because the record shows the promise of a band that’s evolving.
