release date: Jan. 29, 2016
format: cd (LTD.)
[album rate: 3,5 / 5] [3,58]
producer: Tim Bran and Roy Kerr
label: Infectious Music - nationality: England, UK
Track highlights: 1. "The Love Within" - 2. "Only He Can Heal Me" (live) - 5. "Fortress" - 6. "Different Drugs" - 7. "Into the Earth" (4 / 5) (live) - 8. "My True Name" - 9. "Virtue" - 10. "Exes"
5th full-length studio album by London-founded Bloc Party is the band's first album in 3½ years and it has been made with a new producer-duo of Bran / Kerr, who are both associated with the dance scene. Four from 2012 (also released after a long hiatus) was the last album in the original formation. Since then, drummer Matt Tong left the band in 2013 and in early 2015 also bassist Gordon Moakes left the band, which for a short time was reduced to a duo consisting only of singer Kele Okereke and guitarist Russell Lissack, who went on to record this album using drum programming and with performances by studio musicians. After recording the album, however, the band announced its new line-up after recording the album in Aug. 2015 with the addition of two new members: American bassist (and multi-instrumentalist) Justin Harris, who also plays bass on the album as session musician, and British drummer Louise Bartle, who was only 21 when she joined the band.
The Limited Deluxe Edition contains an additional four tracks.
More than three years means a lot of change - especially if one considers how this band has always been altering its sound in a matter of months. My initial verdict - well, never mind that 'cause I already knew it would take more than one listen with a new Bloc Party album. Let's just say, I wasn't overwhelmed, but, and that's really the bottom line: it's way better than my initial verdict told me. Stylistically, it's hard to pin out, but to narrow things in, it's indietronica, synth pop and alt. dance-like, but what's really new is that it's also neo-soul. Drums and guitars have been reduced considerably. It seems evident that Lissack and Kele have rehearsed on synths to make a more electronic-sounding album than ever before, and in a way it does share similarities with Kele's solo works - e.g. his fine full-length solo Boxer from 2010. Having said that, it still comes out as a more laid back album with focus on songwriting. Lissacks roaring guitar is gone - here it's mostly rhythm guitar and basic drum- and bass-lines with synths and keyboards supporting Kele's songs. Despite not reaching the level of the predecessor, it's still a worthwhile and fine album.
[ allmusic.com, Mojo, Q Magazine 3 / 5, NME, The Guardian 4 / 5 stars ]
