Bloc Party, A Weekend in the City, Wichita
LOVES IT
Despite what detractors may say, “Hunting for Witches” is hardly the sole highlight of A Weekend in the City, Bloc Party’s lastest release. The up-tempo second track sounds more like a re-read of Bloc Party’s past material and proves an exception to the overall growth of the band since its debut. Kele Okereke has matured as a songwriter, the band has expanded its sonic palette, and the end result is a more emotionally resonant and consistent album. True, it may not be as immediately catchy as their debut, Silent Alarm, but ultimately, their sophomore release gets closer to defining exactly who Bloc Party is.
A Weekend in the City epitomizes Okereke’s desire to describe the bleak, mind-numbing life of twenty-somethings in London. In “Waiting for the 7:18,” the album’s strongest track, he laments, “Sitting in silence in bars after work/I’ve got nothing to add or contest/Can still kick a ball a hundred yards/We cling to bottles and memories of the past.” On other tracks, Okereke touches upon subjects of shrouded homosexuality, terrorism, and discomfort in a fast-paced world. Though he occasionally pulls a Chris Martin and over-reaches both melodically and thematically, his earnest heart-on-sleeve approach to lyrics fits the music the band has crafted.
Consequently, these aren’t the sleek, fun, post-punk songs that characterized Silent Alarm. Most of the numbers on A Weekend in the City are brooding, with understated, quiet verses that lead up to brilliant, exuberant choruses. The second half of the album takes an unexpected turn towards post-rock, with grandiose instrumental buildups in tracks like “Kreuzberg” and “SXRT.” Though the music never provides a feeling of comfort, in the context of the lyrics, it’s clear that was never the intention. A Weekend in the City may be the morning after the party that is Silent Alarm, but it’s arguably a better experience.
—Justin Scott
