Four
 
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Four

20 Aug 2012 | Format: MP3

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Product details

  • Original Release Date: 20 Aug 2012
  • Release Date: 20 Aug 2012
  • Label: Co-operative Music
  • Copyright: (C) 2012 Frenchkiss / Co-operative Music
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 43:25
  • Genres:
  • ASIN: B008XF6NGO
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (33 customer reviews)

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19 of 21 people found the following review helpful By Tom Belcher on 20 Aug 2012
Format: Audio CD Verified Purchase
After a three year hiatus Bloc Party have returned with their fourth album, imaginatively named...Four. Their first three efforts had all demonstrated different sides to the band. Silent Alarm was a fantastic and fresh take on indie-pop-rock; A Weekend In The City was far more progressive and moody; while Intimacy displayed Kele's bourgeoning love for electronic music. This tradition of evolution begged the question of where Bloc Party would take their sound on their `come-back' LP. The answer is that it returns the band to its roots without a synth in sight, but what the album lacks in innovation, it more than makes up for in inspiration, proving that relying solely on two guitars, a bass, drums and vocals needn't be a restriction on creative output. The songs on Four are packed with enticing guitar lines, first single, `Octopus', being a great example. It is certainly the bands heaviest album to date, with songs like `Kettling' and `We Are Not Good People' utilising grunge-inspired riffs. Fans who have been craving a Silent Alarm part 2 will find more to enjoy here than on AWITC or Intimacy. `V.A.L.I.S.' is just a super catchy slab of indie pop and `Truth' comes complete with infectious sing-along `Ooo Ooo Ooooos'. Slower songs like `Real Talk', and especially `Day Four', flaunt Bloc Party's gentler side and are beautifully written, adding an extra element to the album without sacrificing its intensity. Lyrically it is not Kele's strongest offering and there are a couple of easily forgettable tracks (`Team A' and `The Healing') but as a whole, `Four' can sit proudly in Bloc Party's catalogue. It may not be ground-breaking, but musically it is undoubtedly very rewarding.

So He Begins To Lie (7.
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17 of 19 people found the following review helpful By Steven C. on 20 Aug 2012
Format: Audio CD
On May 31st of this year, Bloc Party frontman Kele Okereke took to the internet. He began by apologizing for two not-very-funny jokes that had come in the months since Christmas 2010. One had suggested that he was booted from the band, and another suggested that an aging ex-Pearl Jam drummer had replaced mainstay Matt Tong. Neither of these hoax attempts were true - nor were they necessary. After the tour supporting their last album, 2008's Intimacy, Bloc Party found themselves at a creative standstill. Okereke thought the timing was right to "make a record that excites people in the clubs like M.I.A.'s XR2," as he put it. With a solo album and a dubstep EP behind him, Okereke explained that Bloc Party were indeed back together and had, in fact, just wrapped up recording their best record to date at Stratosphere Sound Studios in Manhattan.

Bloc Party has a strong following comprised of two types of fans: there are fans that embrace their constant evolution and fans that want them to record Silent Alarm over and over and over again. After listening to Four - an album Okereke says got its title not because it was the band`s fourth album, but rather because it was a raw sound of four guys playing in room together - this record will both satisfy fans from both camps, and alienate some fans from both camps. Interested in always evolving, Bloc Party ditched both of their former producers, Jackknife Lee and Paul Epworth, and recruited producer Alex Newport of Mars Volta fame. Newport suggested that Bloc Party make a record the old-fashioned way: no ProTools, no layering, no over-synthesized effects. The outcome is a record that, at times, rocks harder than anything that the band has ever done.

The lead single, "Octopus," finds the band renewed and revitalized.
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Format: Audio CD
Initial fan responses were mixed when the album leaked two weeks before its set release. People wrote that Four wasn’t the Bloc Party they knew anymore. People said the same when A Weekend In The City (2007) came out, which was much more radio friendly and less anxious then their debut Silent Alarm (2005). Intimacy took yet another route and had the band experiment with electronic music and turned out to be their worst commercially received album (that said it gained a rating of 69 on metacritic while Weekend only had 65).

I always appreciated all three albums in their own right. It probably helped that I first heard of them when Weekend came out and then went back to Silent Alarm. These changes in style really are one of the things making the band so special and stand out from all those other indie bands who release the same album every year trying to live up to their first.

In a nutshell: Four is an album that should please fans of Silent Alarm the most. It is a lot heavier and more guitar driven than their second and third albums (So He Begins To Lie, Coliseum, We Are Not Good People). Lyrically the album expresses some of that anxiety that I loved so much about their early material as Kele whispers “no one loves you” and then nearly shouts “as much as us” (33, which I find hard to listen to) or repeats the words “I’m gonna ruin your life” on Team A (someone’s been watching Pretty Little Liars, I suppose).

Octopus recalls the staccato type lyrics we remember all too well from Helicopter. Octopus, besides its setting in a major key, is actually a song about a school shooting and Kettling reflects on last year’s London riots. The latter is actually one of my favourites, a guitar driven rock song that reminds me of The Smashing Pumpkins in their heyday.
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