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Average User Score: 7.6Mar 31, 2013Being a massive Bloc Party fan, the majority of the 9/10 score given comes from bias, admitted.
However, also being a massive Bloc PartyBeing a massive Bloc Party fan, the majority of the 9/10 score given comes from bias, admitted.
However, also being a massive Bloc Party fan means that I am probably the most disappointed listener when something Bloc Party release doesn't quite strike my fancy. When the hiatus occured after Intimacy, all members went their own separate ways, notably Kele Okereke working on a solo project, releasing a solo album, and EP. However, Gordon Moakes (bassist), went to work on a heavy project also featuring members from other bands (The Automatic etc.), Russell Lissack (Lead Guitar), went on tour with Ash, and worked on his side-project Pin Me Down.
When back in the studio together after hiatus, it seems that Gordon and Russell had the final say, which is what makes the album so unique and brilliant. It would be easy to duplicate the work that Kele was producing on his own, and in doing so, replicate where the majority of the music scene is going, but this is a heavy album. Not for the light-hearted.
The lyrics centre around the theme of 'hatred', whether it's the dislike of society (We're Not Good People, Kettling), self-hatred (V.A.L.I.S), or hate of people close to you (So He Begins To Lie, Coliseum).
The standout tracks for me are We're Not Good People, and Day Four. Both polar opposites of the musical spectrum that Bloc Party have travelled through over the years. Day Four takes aspects of the previous 3 Bloc Party albums, but most notably A Weekend In The City. We're Not Good People however, takes an entirely new musical direction with the heavy feel. It shows that as a band, they haven't forgotten their roots, but also are travelling in a new direction. Love it.
The album didn't get a 10/10 due to the inclusion of one song, V.A.L.I.S just seems to cheesy for my liking. It wouldn't be out of place in a Latvian Eurovision entry. Speaking to a future-self, Kele tells of the things that his younger self used to enjoy, (conspiracy, methyl amphetamines, science), and urges his future self to guide the younger self into the best direction possible. It's a bit like Inception for music.
A dream inside a dream perhaps not, but a vision inside a vision, perhaps.
Overall, all other tracks all have something special about them, something that really casts optimism in the mind of music lovers all over the world, not just for Bloc Party's sake, but for the sake of all amateur musicians looking for inspiration in post-noughties music.
The musicality of Silent Alarm, with the lyrical stories of A Weekend In The City, the heavy-electro aspects of Intimacy (minus the electro), equate to a great fourth album.… Expand
Average User Score: 8.5Mar 31, 2013When you have a natural vocal talent, like Ellie Goulding does, it needs to be harvested correctly.
This is where Goulding's second albumWhen you have a natural vocal talent, like Ellie Goulding does, it needs to be harvested correctly.
This is where Goulding's second album Halcyon falls short. Over-produced on the majority of tracks, with needless sampling and vocal effects. The irony is that an 'effect' in terms of music production is supposed to enhance the dynamic range, stereo field, or audio aspects of a signal, and the vocals on Halcyon have in fact been completely ruined by over-production.
There are standout tracks, Explosions, Halcyon and JOY where Goulding's stunning vocals can be truly appreciated, however there are tracks such as Only You, Hanging On, and the first track Don't Say A Word which completely wreck the mood, and have moments which just completely bewilder me.
Being a big fan of her debut album Lights, this was a massive dissapointment for me to listen to, and it makes me concerned with the direction that Goulding is going in.
Blame Skrillex!… Expand