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Track List
01) So He Begins to Lie
02) 3x3
03) Octopus
04) Real Talk
05) Kettling
06) Day Four
07) Coliseum
08) V.A.L.I.S.
09) Team A
10) Truth
11) The Healing
12) We Are Not Good People
01) So He Begins to Lie
02) 3x3
03) Octopus
04) Real Talk
05) Kettling
06) Day Four
07) Coliseum
08) V.A.L.I.S.
09) Team A
10) Truth
11) The Healing
12) We Are Not Good People
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Data Complete
80%
Total Rating
80%Total Rating
(2 users)
Back Cover
CD Art
3D Case
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First Released
2012
Rock
Energetic
Rock/Pop
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Medium
Album
0 copies
Album Description
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Four is the fourth studio album by British indie rock band Bloc Party. It was released on 20 August 2012 on independent label Frenchkiss Records. It was also made available to stream in its entirety in the week preceding its release via the band's official website. The album was produced by Alex Newport, who also produced Wreckonomics—the EP of bassist Gordon Moakes' side project, Young Legionnaire. The album peaked at number three in the UK Albums Chart and in the United States, it reached number thirty six on the Billboard 200
User Album Review
Bloc Party’s unpredictability has always been admirable, emerging as they did from the hopelessly conformist, misnomered world of ‘indie’. Leaping to fame with the inventive but guitar-bound Silent Alarm debut, frontman Kele Okereke soon began dragging the band ever deeper into electronica. It was a journey that most fans – and ultimately his band – decided not to accompany him on.
The band never formally split, but Okereke’s delight in his solo album and guitarist Russell Lissack’s secondment to Ash suggested otherwise. Which makes Four a reunion album, not a typically lovely or exciting creature (witness The Verve’s similarly titled Forth). It’s as true for bands as for couples: getting back together doesn’t normally work.
Yet from the moment So He Begins to Lie tears out of the speakers, it’s obvious that Bloc Party have dodged expectations again. Lissack’s fantastically crunchy riff, Okereke’s echoing vocal and Matthew Tong’s feverish drum rolls forcefully prove that Bloc Party are a real band again, and a rock band at that. Followed immediately by the Banshees-like strafing guitars and hysterically gothic vocals of 3x3, they sound so raw and energetic you’d think they formed 13 weeks ago, not 13 years.
Mostly, this works immensely to Four’s advantage. The band has always been marked out by introspection, but here the slower songs sound winningly hesitant and unpolished. Real Talk stumbles forward slowly, Okereke’s bruised vocal dragged along by Lissack’s shuffling guitar. On The Healing, the band almost becomes the Cocteau Twins, with lovely, lapping guitar lines matched by a frail, dreamy vocal.
Between the soft and hard extremes lies the python-like Octopus: its frenetic guitar line, stuttering rhythm (borrowed from Portishead’s Machine Gun) and delightfully skipping vocal looping around the listener, before the chorus brutally tightens. V.A.L.I.S. is even better, its guttural bassline, jerky guitars and elasticated melody sounding like a brilliant hybrid of The Strokes and Yeah Yeah Yeahs.
The downside to this newborn approach is that Four doesn’t cohere particularly well, and amateurish errors like the vicious but unfinished Kettling stand uncorrected. Still – remarkably – Bloc Party sound full of potential where just four years ago they sounded depleted. Indeed, Four may be 2012’s most exciting guitar album, and who would have predicted that?
External Album Reviews
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User Comments
Available in:
Four is the fourth studio album by British indie rock band Bloc Party. It was released on 20 August 2012 on independent label Frenchkiss Records. It was also made available to stream in its entirety in the week preceding its release via the band's official website. The album was produced by Alex Newport, who also produced Wreckonomics—the EP of bassist Gordon Moakes' side project, Young Legionnaire. The album peaked at number three in the UK Albums Chart and in the United States, it reached number thirty six on the Billboard 200
User Album Review
Bloc Party’s unpredictability has always been admirable, emerging as they did from the hopelessly conformist, misnomered world of ‘indie’. Leaping to fame with the inventive but guitar-bound Silent Alarm debut, frontman Kele Okereke soon began dragging the band ever deeper into electronica. It was a journey that most fans – and ultimately his band – decided not to accompany him on.
The band never formally split, but Okereke’s delight in his solo album and guitarist Russell Lissack’s secondment to Ash suggested otherwise. Which makes Four a reunion album, not a typically lovely or exciting creature (witness The Verve’s similarly titled Forth). It’s as true for bands as for couples: getting back together doesn’t normally work.
Yet from the moment So He Begins to Lie tears out of the speakers, it’s obvious that Bloc Party have dodged expectations again. Lissack’s fantastically crunchy riff, Okereke’s echoing vocal and Matthew Tong’s feverish drum rolls forcefully prove that Bloc Party are a real band again, and a rock band at that. Followed immediately by the Banshees-like strafing guitars and hysterically gothic vocals of 3x3, they sound so raw and energetic you’d think they formed 13 weeks ago, not 13 years.
Mostly, this works immensely to Four’s advantage. The band has always been marked out by introspection, but here the slower songs sound winningly hesitant and unpolished. Real Talk stumbles forward slowly, Okereke’s bruised vocal dragged along by Lissack’s shuffling guitar. On The Healing, the band almost becomes the Cocteau Twins, with lovely, lapping guitar lines matched by a frail, dreamy vocal.
Between the soft and hard extremes lies the python-like Octopus: its frenetic guitar line, stuttering rhythm (borrowed from Portishead’s Machine Gun) and delightfully skipping vocal looping around the listener, before the chorus brutally tightens. V.A.L.I.S. is even better, its guttural bassline, jerky guitars and elasticated melody sounding like a brilliant hybrid of The Strokes and Yeah Yeah Yeahs.
The downside to this newborn approach is that Four doesn’t cohere particularly well, and amateurish errors like the vicious but unfinished Kettling stand uncorrected. Still – remarkably – Bloc Party sound full of potential where just four years ago they sounded depleted. Indeed, Four may be 2012’s most exciting guitar album, and who would have predicted that?
External Album Reviews
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