And then I resurfaced...

Having just re-emerged from the most creatively-barren couple of months imaginable, like Blur, I now see fit to return to the fold. Many ideas are currently in bloom, including over the coming days a singles-of-the-year rundown (have sampled many many artists this year, rather than losing myself in long-players, in a trend somewhat symptomatic of our times) and many other things I haven't quite thought of yet. Blogger may only be a temporary home for 'Piss Holes In The Snow', considering it's limited, generic visual possibilities amongst a few other things, but for the time being I'm quite excited about posting a couple of strong features a week, and when a new home is found, transferring the best bits of previous work onto there. Sickeningly, I only managed 3 singles round-ups before succumbing to the afore-mentioned writer's block, but they'll definitely be back very soon (post-Xmas, when people start releasing things).

Of course, I'll be dipping my toes into non-musical waters as and when I deem it appropriate, hopefully with some regularity, and would aim to get my reviews and features to a publishable level in due course.

So, as I mentioned in passing, Blur announced their reformation this week, which surely puts both the irrelevance and inferiority stamps onto the careers of a certain quintet from Leeds. 'Everything Is Average Nowadays'? You're about to made completely surplus. I can't be the first person to describe this as indie's equivalent of the Take That resurgence. I always said the 90's eclipsed this sorry decade.


So to celebrate, I'll leave you with a clip of Blur performing one of my favourite compositions.

'The Universal (Live MTV Europe Awards 1995'

Crowd urges troubled teenager to commit suicide

I, for one, was mortified this week when encountering a report of an incident involving a crowd of shoppers instructing a depressed young man to take his own life. Shaun Dykes, who was 17, stood at the top of a multi-storey car park in Derby last Saturday afternoon, whilst morally-bankrupt onlookers urged him to 'get on with it' and even filmed the action on their phones. No arrests were made, and Dykes eventually fell to his death.

Although reportedly the majority of onlookers were concerned for his well-being, the actions of those responsible raise some bleak questions about the outlook of British citizens. How anyone can display such uncaring, brutal behaviour, especially in full public view is absolutely astonishing, and to my mind, they should take some responsibility for his eventual fate. I've been increasingly coming round to the viewpoint that there is an inhumane culture of negativity in this country, encompassing a complete lack of compassion and respect for those suffering from mental illness. In a country where the media is fuelled by such an energy of negativity, greed and contempt, it is no wonder that this atmosphere seeps into the wider world. The media are powerful enough to change opinions and promote an understanding of the issue of mental health, yet our soaps, newspapers and news programmes rarely cover the issue, choosing instead to brush it under the carpet, making it a taboo subject, intangeable to the supposedly 'sane'. Coupled with a culture of 'bear-bating' as exemplified on the unbelievable Jeremy Kyle show, where the most vulnerable and disadvantaged in society are dehumanised, humiliated and blamed for their own predicament with no regard shown to the motives behind their actions, and a half-heartedly compassionate Conservative opposition going further up in the polls the further they revert to their old fascistic party line, and this country resembles a grey old unfeeling shithole I don't feel overly proud to inhabit. Remember when Frank Bruno was at a low ebb and The Sun reported it as 'Bonkers Bruno In Mental Home'? Exactly.

Respect in this country it seems can only be granted when the recipient is materialistically successful or has a borderline-psychotic sense of emotional strength. Who gives seven shits who is at the top of the 'Sunday Times Rich List'? Our celebrities are worshipped for being shallow and talent-starved, our media have a God complex to put Bob Geldof to shame, our politicians are self-serving crooks and our footballers are cunts.

Rule out Britannia!

And R.I.P., poor lad.

Singles #3

Just thought I would note that the singles I pick aren't necessarily grouped together with respect to their release date. I generally pick a mixture of high-profile and more obscure releases that will provoke the most entertaining writing from myself. This generally means, that as (in the age of the dying CD single) release dates these days are a sketchy business (some tracks being released digitally one week prior to a physical release, others 3 weeks, or even available long before that as part of an album, or not physically at all. Which begs the question, what's the point in a single released in no tangeable form that gets no airplay? But that's for another post), I choose to review singles just as they hit their stride in terms of profile, which is generally before their physical release as a self-imposed rule. When I've overlooked something until not long before it's 'official' release which I think warrants a review, I will include it. So, this week I've included a mix of singles due to hit the shops at various points during October. Keane are in there, though their song isn't out fully for a fortnight, but presumably it's in the public consciousness by now anyway, so a review might seem pretty redundant by that point, as are MGMT, whose 'Kids' is out on the 13th, though, as the album did the rounds all summer, their tune could be labelled old hat too.

Also, as gratfifying as it is to belittle the achievements of some major-label mainstream 'indie' band who resemble Simply Red with Mod haircuts (Scouting For Girls being an obvious example) I can see how the cheap shots could get tiresome, so I will be attempting to cover increasing amounts of interesting releases alongside these in the future - nonetheless I've given Kooks and Kaiser Chiefs at least semi-positive reviews during the last few posts, so I'm not 100% prejudiced.

I will be posting other material during the coming weeks too. The single reviews were an excercise to familiarise myself with the blogging process, but if a news story or somesuch event strikes me as blogworthy, then I hope to compose well-researched, balanced and entertaining posts centred upon whichever issue has provoked me to write. Obviously, it's wandering outside my musical comfort zone, but in a world where some unresearched, prejudiced newspaper columists pull in over £1,000,000 per annum for legitimising their readers' bigoted views, quite confidently in fact, I don't think much real damage can be done.


Keane - 'Lovers are Losing' (Island)

Starts off with a highly reverberated guitar note along the lines of David Bowie's 'Heroes', maintaining the (relative) anger apparent on the last LP, which of course coincided with Tom Chaplin's oft-ridiculed rehab spell. Sounds EXACTLY like a close relation of U2's 'Pride (In The Name Of Love)' and, of course will grace the airwaves of Housewife FM as happily as a particularly formulaic Westlife single, but at least the Snowplayisms are kept to a minimum. Has no indie pretensions whatsoever, but with a fine, fiery chorus, in it's field it's no failure at all. File next to Tears For Fears.

Is it 1989 again? As much as it pains me to say it...

8/10

MGMT - 'Kids' (Columbia)

You may have heard this all summer, but not in this slightly remixed form. Perhaps tweaked to sound more like 'Time To Pretend', this version is unnecessary as the original was radio-friendly to begin with, but the instantly recognisable synth hook is as just as euphoric as before. They might look like they've just stepped off the Mighty Boosh set, but with a chain of singles this fine, there are no musical shortcomings to make up for. An ecstatic flashback to summer in an already-unforgiving Autumn.

9/10

Dananananakroyd - Pink Sabbath (Best Before)

Messiahs in the blog world, and as clattering and frenetic as Johnny Foreigner, with McLusky-esque levels of throaty screeching, this Scottish 'post-hardcore' combo are apparently far more indebted to cult US bands like Sonic Youth and At The Drive-In than the traditional British lineage of Smiths and Kinks. Not necessarily one's cup of PG, but at least the Americanisms come from a rawer melting pot of musical history than many Brit Yankophile bands. Sounding raw, live and unprocessed, the overall feel is that of a noisier 'Captain'-era Idlewild, only spoiled by very un-Glasweigan vocal delivery that this writer can't help but feel unconnected to, possibly because I'm too fuckuckuckucking old.

7/10

Late of the Pier - 'Bathroom Gurgle' (Parlophone)

Early single sees the light of day again. Whilst typically indie in image, the spirit of Gary Numan looms large in the work of this young (and, sorry, but ridiculously posh) Donnington quartet. The synths are steeped in New Romanticism but the execution lies somewhere between the Klaxons and the Sex Pistols. 'Bathroom Gurgle' incorporates several sections, whose lack of structure suggests a lack of flow but work nonetheless. Erol Alkan's production is far more suited to LOTP, than Mystery Jets and The Long Blondes, who previously had little of the old electronica in their sound whatsoever. 'Bathroom Gurgle' inhabits the regrettably unpopulated space between Muse's 'New Born' and 'The Time Warp', from a band so ambitious their music may have a shelf-life shorter than a pint of milk, but sound sufficiently relevant at the time of writing.

7/10

Red Light Company - 'Scheme Eugene' (Columbia)

Presumably SonyBMG's 4-years-late answer to The Killers, Red Light Company employ quiet-loud dynamics, which seemingly exist only to enhance the perceived power of the production-line chorus. RLC are so contrived they make One Night Only look uncompromising, and not one second this song fails to scream 'major label laziness'. There is no excuse for anyone over the age of 15 to be interested in this record. If you thought White Lies were a Psychedelic Furs tribute band, then the major-chord formulaism inherent in 'Scheme Eugene' is a masterclass in cynical songwriting.

2/10

Port O'Brien - 'Close The Lid' (City Slang)

Instantly charming, 'Close The Lid' is laden with dramatic hooks which linger in the consciousness long after it reaches it's finale. Whilst obviously comparable to The Shins, a direct lyrical style suggests at least an admirable fanbase, and it should, like it's parent album, be of some comfort to disaffected Arcade Fire fans. Accessible enough to achieve wide appeal, and equally heartfelt.

9/10

Singles of the Week #2

KOOKS 'Sway' (Virgin)

Maroon 5-reminiscent, Autumnal mid-tempo offering from Razor-lite stage school chancers. 'Sway', whilst less grating than previous singles is nonetheless lightweight as ever, though with an unprecedented grunge undertone. Nowhere near as bad as 'Shine On', or any of the singles from their department-store soundtracking debut album, each of which were hook-laden in the worst possible sense. Their best single, but isn't the Britpop revival way into 1998 now?

Orson would be proud of this!

6/10


BLOC PARTY 'Talons' (Witchita / V2)

Not these again! 'Talons' is a brand new track, which will feature on the physical edition of the recent inconsistent 'Intimacy' album. Featuring excellent drumming once again from Matt Tong, 'Talons' employs rich production, with minimal keyboard motifs and drum loops married to cinematic guitars, but unfortunately has 'album track' written all over it, as the melody department fails to engage. A Paul Epworth production, though the epic feel would hint at Jacknife Lee's work, particularly with Editors. A fairly standard arrangement, as each section unfolds as you might expect. Yet again incomparable with the early singles, but implemented with more dignity than the last two.

7/10


FLEET FOXES 'He Doesn't Know Why' (Bella Union)

Glowing, almost festive, enchanting single culled from the self-titled debut. A Beach Boys-esque melody gets top marks for infectiousness, executed in the manner of an alternative hymn. Not ground-breaking at all, but it's timelessness earns plaudits, if it does end somewhat prematurely. Falls short of 'White Winter Hymnal' standards, but reassuring to hear justified critical acclaim.

8/10


THE LAST SHADOW PUPPETS 'My Mistakes Were Made For You' (Domino)

Unnerving third single from the precocious duo, lacking the instancy required for single status, though wouldn't sound out of place on a 60's espionage thriller. Opens perhaps ironically with the line 'About as subtle as an earthquake', as it teeters on the edge of a dramatic chorus that never appears. Nonetheless, a solid track from an ambitious if patchy Scott Walker and Love-indebted project.

7/10


NOAH AND THE WHALE 'Shape Of My Heart' (Mercury)

Follow-up to summer breakthrough hit 'Five Years Time', 'Shape Of My Heart' trundles along in a half-hearted indie-pop fashion, whilst it's arrangement smacks of a poppy Beirut, lyrically pondering the topic of heartache via smug vocalist Charlie Fink who annoys rather than convinces, approaching the issue with a limp tweeness where bitterness would work more effectively. Still, childlike enough for Los Campesinos fans and conservative enough for the Radio 1 playlist.

5/10


TV ON THE RADIO 'Golden Age' (4AD)

Typically inventive lead single from new LP 'Dear Science', starting off with a Prince-friendly bassline and shimmering electronic percussion, before a weighty synth lead makes it's presence-felt. Foals may have scrapped David Sitek's work on their debut, but it's gratifying nonetheless to see TOTR's off-the-wall experimentalism seep into the palette of the typically white, asexual UK guitar scene, particularly in the supposed Nu-Rave scene - Late of the Pier being an obvious example. 'Golden Age' is an accessible yet innovative track from an album full of them.

9/10

Coming soon...

Singles of the week #2

Including Fleet Foxes, Bloc Party, The Kooks, The Last Shadow Puppets and Noah and the Whale.

Should be fun!

Lichy's Singles of the Week!

KAISER CHIEFS - 'Never Miss A Beat' (B-Unique)

'I Predict A Riot'. 'Oh My God'. 'Everday I Love You Less and Less'. 'Ruby'. 'Everything Is Average Nowadays'. 'The Angry Mob'. A veritable roll call of shite. 'Modern Way' was rather charming, in it's own way. Now, picture if you will, nepotist brasshead Mark Ronson added to proceedings. They'll sound more like a 'bad Blur' (© L. Gallagher) than ever.

Except once the seratonin-producing chorus hits, not long after one of the best call-and-response vocals ever ('What do you want for tea? I want crisps'), past sins are almost completely forgiven, and Ronson's trumpets are thankfully absent. Judging by this single, the Kaisers have took criticism on the chin and opted for subtle and detached humour rather than smug lowest-common-demonator wit so commonplace on weak yet enduringly popular tracks such as the consistently infuriating 'I Predict A Riot' and Stephen Street's emptiest production ever, 'Ruby'.

There is an additional warmth to 'Never Miss A Beat' lacking in previous hits, which although performed in a similiar tongue-in-cheek manner seems less likely to annoy on subsequent listens. Previously, to my ears, the Kaiser Chiefs were a sub-Britpop revival combo running pararell only to Menswear in terms of non-credibility and longevity, whilst appearing to attract exactly the type of fanbase they attempted to ridicule during 'I Predict A Riot' and embracing this factor. In addition to this, both Ricky Wilson and songwriting drummer Nick Hodgson seemed borderline arrogant in interviews, in a manner befitting talents far worthier than their own.

Nonetheless, 'Never Miss A Beat' on it's own terms is a highly melodic and charismatic pop single which warrants repeated listening, and shouldn't cause too much concern when it is used as backing music to all sports coverage repeatedly over the next 3 months.

A single of the week award seems redundant, since these are in no way definitive with regards to this week's releases, but if there was an award for 'Pedestrian Landfill-Indie Band meets Silver-Spoon Brass-Happy Producer in Decent Record Shocker' this would probably stand in good stead.

(8/10)

http://www.youtube.com/watch?v=wz40P1hFvWs


SNOW PATROL - 'Take Back The City' (Polydor)

So, as it's 2008, and these things tend to come round on a 2-yearly cycle, we are not only treated to a new Kaisers single (although admittedly the last album only came out last year, as did the last Bloc Party, and they've churned out another questionable collection already, in what is now known as 'Radiohead-fashion', leaking the album far ahead of physical release), but a new album by this decade's answer to Deacon Blue arrives, predictably leaving one ear as fast as it entered the other. Now that even Coldplay have upped the tempo of their single releases, thus avoiding further Embrace comparisions, it seems Snow Patrol must follow suit, and although 'Take Back The City' is admittedly more raucous than say, 'Run', or the cynical, contrived emotional void known as 'Chasing Cars', it fails to leave a dent on the long-term memory, and leaves one inquisitive over potential weakness of subsequent singles.

(5/10)

http://www.youtube.com/watch?v=bmB2uvQc0O0


CSS - 'Move' (Sub Pop)

A characteristic 80s tinged effort, the latest effort from most people's favourite indie-disco Brazillians is built upon a chorus not unlike prime-time Madonna - the kind of hook Gwen Stefani would probably pay someone an obscene amount of money to compose. Now that commercial indie music is dying on it's arse in terms of mainstream success, it would be interesting to see how the firework bands of 2 years ago fare, once the crash-barrier of hype has vanished. Maybe we'll have to concentrate on the music other than the fact that the singer's dating a Klaxon.

'Move' is a euphoric, if uneventful pop song and is unlikely to prolong the career of a band so obviously based on fashion and image as much as creative potence, and in the manner of so many 2nd division alternative acts these days will probably reach #78 for one week on downloads only, as the only physical CD single in circulation dies a lonely death in a Wrexham stockroom.

(8/10)

http://www.youtube.com/watch?v=hvUW-dkviak


JAMES YUILL - 'This Sweet Love' (Moshi Moshi)

In the vein of Maps-meets-Bright Eyes, a simple acoustic lament which gives way to a sweet synth-motif which sounds neither jarring nor contrived. A folktronica-infused epic which, both unintrusive and introspective, only requires a couple of airings to enter the consciousness on a long-term basis, bringing Four Tet and Nick Drake to mind in equal measure.

(7/10)

http://www.megaupload.com/?d=GTUSO9T8


M.I.A. - 'Paper Planes' (XL)

A highlight of the quantum-leaping 'Kala' album of over a year ago. A huge hit in the US, 'Paper Planes' now receives a lap of honour in the UK, already becoming the genre-straddling Londoner's first UK Top 40 hit. Utilising the hook from The Clash's 'Straight To Hell' to cataclysmic effect, M.I.A. makes the sample her own in a track that has already faced a somewhat unneccesary hefty amount of censorship across the Atlantic. A harmonious merging of hip-hop, rock and electro, this mid-tempo epic could well become a signature track before her oft-threatened retirement.

(9/10)

http://www.youtube.com/watch?v=7sei-eEjy4g


THE TING TINGS - 'Be The One' (Columbia)

Yet another single culled from the hugely successful 'We Started Nothing', recalling The Bangles and, maybe unintentionally, an Aldi-level Santogold, or maybe somewhat generously, The Primitives. It doesn't exhibit the tight funk element of previous chart-topper 'That's Not My Name', but then again employs more than two chords and doesn't make me want to divorce my own testicles by means of a pizza cutter. Not a bad week for dogshit bands.

(7/10)

http://www.youtube.com/watch?v=F5BybSb6W4g

And that's this week's (high-profile) singles!

Got to save some for next week!

Roots Manuva - 'Slime and Reason'

Roots Manuva's 2005 LP, 'Awfully Deep, was centred upon the concept of some asylum-orientated exile, turning it's back on the carefree playfulness of his previous 2 albums, and was an altogether more sober affair. Whilst a number of tracks maintained the eccentricity of tracks such as 'Dreamy Days' and 'Bashment Boogie', Rodney Smith returned to the fold troubled and uncertain, hinting lyrically that this was to be his final stand as a performer, disillusioned with the underachieving UK rap scene and the mentality of mainstream hip-hop, satirising hip-hop's thematic pre-occupations on tracks such as 'The Falling' ('Guns, bitches, hos, crack/ Death and disease and a baseball bat') with traditionally English world-weary sarcasm, documenting his fight against temptation and depravity, whilst coming to terms with first time fatherhood. Whilst the album was a more melodic and musically accessible affair than his previous work, critical acclaim once again eclipsed commercial success, despite the singles 'Collosal Insight', and 'Too Cold' denting the lower reaches of the UK Top 40. So, after a 3 and a half year break, Smith returns with 'Slime and Reason' and two low-profile dancehall-influenced, slightly throwaway singles, 'Buff Nuff' (produced, like 'Do Na Boddha Mi', and 'I'm A New Man' by Sheffield's Toddla T) and 'Again and Again', both playful in tone yet deceptive with regards to the overall feel of their parent album. Whilst much of the album is infused with eccentric and eclectic instant gratification, the second part of the collection retreats to common Smith themes of guilt, failure, introspection and sadness, particularly on the 6-minute 'The Show Must Go On', where he reflects on his career thus far and perceived lack of fulfillment and success. On 'Run Come Save Me', Roots pondered upon his strict Pentecostal upbringing, and his childhood rejection of faith on the track 'Sinny Sin Sins', and he revisits the concept of religion, inadequacy on 'It's Me Oh Lord' ('Reinventing the wheel was never part of my remit...Bought and sold how many years ago / and they're still trying to sell my arse'). In the same track he alludes to the identity of alienated UK youth with characteristic wisdom ('There's too many playing games with life / Discuss and discuss ways to guide those young 'uns / But they're built on a whole different fire'), whilst commenting on the 'copyright infringing/ publisher's cringing' nature of contemporary music consumption . Much of 'Slime and Reason' reads like a remorseful recap of his career thus far, fuelled with a troubled air of failure, drawing pararells between Roots Manuva the artist and Rodney Smith, the flawed family man, and there seems to be few differences between the two. Smith's UK alter-ego seems as fractured and humane as he is, and his self-effacing honesty makes the whole concept of an alter-ego little more than a stage name. Whilst Smith's contemporaries Dizzee Rascal and Wiley have scored their first real smash hits this summer, with a pair of rather hollow dancefloor-fillers, Smith has kept his integrity intact by not releasing the dumbed-down pop album he is more than capable of producing. In 'Do 4 Self', he talks of the importance of remaining 'true to self', adding in an admirably alienating fashion, that it is 'much too late for peace and togetherness'. If Roots was to make a last ditch-attempt at blanket airplay via a unifying everyman anthem, the Metronomy-produced 'Let The Sprit' would be a fine choice. Musically, the LP is largely a mid-tempo affair with a detached warmth reminiscent of early tracks like 'Movement', and 'Juggle Tings Proper', whilst returning to the 'Awfully Deep' template of 'Thinking' and the afore-mentioned 'Collosal Insight'. Fans of harder beats as exemplified on 'Run Come Save Me' will find gratification within 'C.R.U.F.F.' and 'I'm A New Man', which features an Atari-esque synth line, although as with much latter-day Roots Manuva a mellower feel is evident. 'Well Alright' is a defiant affair, targeting 'dumb-arse journos and their dumb arse questions', whilst closing track self-explanatory 'The Struggle' outlines his future hopes and fears, with trademark wit and poignancy. Therefore, whilst 'Awfully Deep' detailed the inner turbulence of a man, whether in reality or purely on record, firmly on the brink, 'Slime and Reason' successfully balances moments of uncertainty and defeat with contention and jubilance. Even on the bleaker moments of the album, Smith seems determined to pull himself through and not to give in to his demons, whereas on 'Awfully Deep', an air of finality seemed inescapable. Adding to that a wide array of previously uncharted musical territory, and, at 36, Roots' future as the leading light of intelligent UK urban music seems unquestionable.
'Let The Spirit' 'The Show Must Go On'

Hacking Cough

Well, I originally planned a diary, but I'm sick of hearing my own inconsequential whining, so I wouldn't wish it on Jeremy Kyle. So I thought I'd turn my hand to something else. Music journalism. Please enjoy my recap of the career of one of the 2000s most high-profile yet inconsistent musical combos.

BLOC PARTY

Bloc Party emerged in 2004 at the height of Franz-ism, unleashing a string of high-octane, melodic anthems fuelled by a sense of great urgency and driven by the frenzied rhythms of drummer Matt Tong, incorporating spiky guitar histronics, pumping basslines and Cure-esque yelping vocals courtesy of frontman Kele Okereke. Whilst contemporaries such as the idiotic Kaiser Chiefs were celebrating empty irony and attracting the kind of fanbase 'I Predict A Riot' sought to parody, BP seemed an artier, intelligent and pulsating antidote. Whilst the London quartet's obvious reference points were not uncommon for an upcoming band of their kind (the melancholic cinerama of Manic Street Preachers and The Smiths being two primary influences), BP's pallette appeared to draw from a far wider range of genre's than the usual UK indie-rock fare. The opening track of their 'Silent Alarm' debut 'Like Eating Glass' began with a breakbeat reminiscent of drum and bass, and 'Positive Tension' seemed to effortlessly incorporate dub influences into their soundscape without veering towards Hard-Fi territory, whilst the album's onslaught of singles such as 'Helicopter' and 'Banquet' ran like a particularly strong hits collection. Paul Epworth's production was engaging and extremely contemporary, infused with the kind of sonic detail usually reserved for fields such as electronica, acknowledging the ambience of Radiohead whilst hinting at a UK answer to Interpol with urban tendencies.

However, follow-up 'A Weekend In The City' proved an infuriating affair, aside from 'crunk-influenced' lead single 'The Prayer' and the charming, if generic 'I Still Remember', a tale of schoolboy affection which coincided with what sounded curiously like an outing from Okereke in the music press. Under the guidance of opinion dividing producer Jacknife Lee (Editors, U2, Kasabian), Tong's breakbeats remained intact in places, but jarred somehow against the heavily reverberated guitars of Russell Limmack, delusions of grandeur failing to mask Okereke's clunky lyrics, expansive textures sounding overblown and confused rather than spine-tingling or even memorable, particularly on the second half. Described as concept album about contemporary Britain, the lyrical displays on offer seemed cringworthy and pretentious ('I am trying to be heroic in an age of modernity'), their intended sincerity falling flat due to clumsy, earnest and unvarying execution. When coupled with unendearing quotes lifted from interviews around the time of release ('Everyone I know has had a line. But it's bad news for me because it can really damage your voice'), the whole scenario seemed limp and alienating, whilst experimental elements that had so excited at the time of their debut seemed wasted on clunky songs suffering from a noticeable lack of melody and hooks.

By the time non-album single 'Flux' dropped at the end of 2007 (later shoved into subsequent copies of 'AWITC'), the leading lights of the UK music scene had become something much further outside the field of traditional mainstream indie rock than they were in 2004, as the nation tired of sub-Libertines skiffle, previously charmed by the danceability of Franz Ferdinand but now requiring something more daring, Nu-Rave, or at least more experimental, mainstream guitar music was gathering momentum in the shape of band like the Klaxons and Foals, and the band responded with an almost guitar-less single. However, 'Flux' was characterised by a late 1990s trance-like backing, repetitive synth-line and highly-treated vocals which brought perhaps more cruel comparisions to 'Believe' by Cher than the band had envisaged. For a band whose sound had sounded so subtley cutting edge circa 2004-5, their new direction seemed little more than laughable, despite a memorable enough chorus and chart position of #8.

Nonetheless, with new single 'Mercury' Bloc Party may have surpassed themselves in their battle between ambition and integrity. As an instrumental, with it's Bjork-esque use of brass, 'Mercury' would have been an impresssive piece of work, but once again weak/absurd lyrical insights ('My Mercury's in retrograde...I'm sitting in Soho trying to stay drunk'), and Okereke's increasingly one-dimensional (now chopped-up, like a hapless Prefuse 73) vocal strains, BP unwittingly put forward an argument against experimentalism in rock. In the hands of a worthier band like Radiohead, whose 'In Rainbows' album married electronica and rock harmoniously, with a sense of universality which keeps their most widely cherished elements in place, such experimentation is a crucial part of their sound, and for more raucous contemporary acts such as Late of the Pier and These New Puritans an increasing pallette of sounds is cathartic and exciting. However, Bloc Party's discrepancy between experimentation and actual songwriting technique coupled with an increasingly questionable lyrical perspective means that the future perception of their post 2005 work seems shaky, and they may find their fanbase pleading for a return to angular guitars, epic choruses over contrived sonic experiments they can't quite pull off.

'Positive Tension'
'Mercury'

Testing, Testing

1,2,3.