Wreckord Reviews: Bye bye Bloc Party

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Bloc Party's latest release delves into electronica but doesn't take enough risks for a big pay off.

The prominence of EDM (electronic dance music) has had an interesting influence on the music industry. Whether we look at country, rock, blues or metal, everyone seems to be hopping on the bandwagon and adding electronic elements to their repertoire.

Some artists, like Tegan and Sara, have made the transition effortlessly while other acts, such as Bloc Party, have blundered around and missed the mark. Bloc Party is the British indie-rock band that brought us early hits such as “Helicopter” and “Banquet”.

Though they may have peaked in 2005, Bloc Party stuck around with a moderate collection of albums and EPs. Now, about a decade later, we see the release of their fifth and hopefully last studio album, Hymns. This record was released Jan. 29 and probably won’t be remembered by the time this is published.

When buying an indie-rock album we can generally be sure of two things: trashy guitar riffs and raw upbeat lyrics, but with Hymns we get a gratuitous pile of neither.

This album is not a Bloc Party release, this is just lead vocalist Kele and his friends in the studio. If you haven’t yet listened to Kele’s solo album, Trick, find a good subwoofer and blast the album because it’s a far more rewarding experience than Hymns will ever be.

While I would have played Bloc Party’s earlier releases Silent Army and Intimacy when I wanted to add excitement to my road trip, the only thing Hymns is good for is ruining a sunny day. Although the album starts off somewhat upbeat, the cringe-worthy synths and ominous pads easily overshadow the excitement. By the third song “So Real”, Kele’s sad croaking and morbid crooning have taken away any vigor Hymns might have still held. Even the song’s mildly indie-influenced guitar hook has sad and sparse overtones.

If it weren’t for the driving drums behind every drab reverb-drenched track on Hymns, I might have fallen asleep before “The Good News”. This song is the outlier of the album, featuring a catchy slide-guitar and falsetto back-up vocals that bring a happy disposition to the depressing lyrics peppered throughout the tune.

“The Good News” elevates Hymns just enough to make the drop to “Fortress” all the more disappointing. This sparse song is driven by nothing but Kele’s high crooning melodies. Even the drums have been replaced with barren electronic beats here. “Fortress” barely holds itself together amidst the boundless swirling ambience.

At least with Kele’s solo material we are treated to a colourful montage of vocal styles and interesting textures. Neither the solo album Trick nor the band effort Hymns are all too memorable, but at least Trick is inspired. It has a unique quality that keeps it novel, while Hymns seems to only dabble in a mellowed-out personality crisis.

Half of Hymns sounds like tracks that were cut from Trick and the other half sounds like sad, disinterested attempts at earlier works.

If it weren’t for the morose lyrical content and sad undertones of Kele’s vocals, a couple of these songs might have come close to capturing the upbeat essence they strived for. It’s clear that Kele has taken creative control over this project and driven it far from the original vision, into a hazy and uncertain future. Perhaps the mellow direction would have revitalized the band’s popularity, if it contained any nuance of a memorable moment.

As it stands, the only thing on Hymns that I remember is the atrocity of “The Good News”, and the sour taste that the closing song, “Living Lux” leaves in my mouth.

If by some miracle, you listened to Hymns and want more, go find a copy of Trick. I have to warn you though, listening to Trick will completely ruin Bloc Party’s sad attempt at alternative electronic hangover music.

Rating: 2.5 out of 5