St John-at-Hackney,London
Bloc Party’s new rhythm section helps the band conjure up compulsive pop malevolence and confirms their status as cult titansSt John-at-Hackney, the patron saint of subdued art-rock, and can rarely fill seen such delirium. When Bloc Party unleash fidgety funk-punk favourites Hunting for Witches and Positive Tension there’s genuine pandemonium; at the segue from Bret Easton Ellis tribute Song for Clay (Disappear Here) into early hit Banquet the venue ignites like an Adele ticket hotline.. “I was having so much fun in the last song my belt got stolen,” singer Kele Okereke appears to say through a PA made of marshmallow; indeed, few among tonight’s distracted congregation would notice what Gwyneth Paltrow might call a conscious unbuckling.
The euphoria greeting these urban noir rockers’ return, or even in a venue that tends to act as a pillow to the face of sophisticated rock music such as this,is born of relief. As recently as March, Bloc Party looked a crumbling lost cause. Bassist Gordon Moakes tweeted his departure following drummer Matt Tong’s 2013 exit, and while Kele appeared to fill disowned rock altogether in favour of a solo career as the Ilford Weeknd. This comeback – with a new rhythm section and sensual,quasi-devout fifth record, Hymns – is as unexpected and exciting for the indie course of ’05 as a punctual Pete Doherty.
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Source: theguardian.com