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My early explorations of music started in the stacks of the Hamilton Public Library around eight years ago, where I would arbitrarily pick out a dozen CDs to bring home. Bloc Party’s debut album, Silent Alarm, was probably the single most important discovery in these trips. To this day, Bloc Party’s early discography has solidified the UK pop-rock outfit in my shortlist of all-time favourite acts.

Bloc Party has gone through a string of hiatuses and break-ups following 2008’s Intimacy, but their career has unfortunately been overshadowed by the weight of following up on their rapturously received debut. Silent Alarm’s critical acclaim has loomed over Bloc Party’s career, despite the more matured, conceptual approach on their sophomore work A Weekend in the City and a collection of gems from Intimacy.

Now, Bloc Party returns without bassist Gordan Moakes and drummer Matt Tong in their fifth studio album, Hymns. Their new album is an hour of moody electronic sounds and an especially close and personal vocal performance from front man Kele Okereke, who discusses his relationship with his Christianity, hopeless romance, and loneliness. Hymns leaves me unfortunately, and expectedly, feeling lukewarm.

Even after several listens, there are few moments that really resonated with me. With the exception of the bland but upbeat leading single “The Love Within,” the entire project sits in a mid-paced electronic drone. Okereke’s beautiful vocal work, showcasing impressive growth in both his emotional and musical range over his decade long career, saves what is otherwise a complete write-off.

For long-time fans, Hymns will feel like a husk of what the band once was. Though Kele has grown as a singer, there are very few notable moments in the song-writing, and the religious themes of the album don’t particularly amount to any form of powerful revelation. It is especially painful to summarize lead guitarist Russel Lissack’s contributions as electronic drone, given how instrumental he has been to distinguishing the group among other mid-2000s indie rock-pop groups. Lissack’s guitar and melody work almost carried the inspiration and legacy of Johnny Marr’s work with The Smiths, and much of Bloc Party’s success was founded on that work. It doesn’t help that Tong’s precision complex and precision drum work is no longer part of the equation.

This is where I think the comparisons should end. It is clear that Hymns is the introduction of a new Bloc Party, and though this album still warrants a sub-par score, it is equally apparent that there is no desire for the group to return to their original form.

https://www.youtube.com/watch?v=V23fQ1KREcE

As much as I personally appreciate the group’s early work, it is important to recognize that comparing this new group to their previous work is a measure of a group’s history, and a measure of what has changed, and marks some deliberate artistic choices. Hymns will be panned by fans and critics alike as yet another project that’s not as good as Silent Alarm, which in my view, is an absolute cop-out.

There are solid moments in the project, and tracks like “Only He Can Heal Me,” “Different Drugs” and “Living Lux” create a potentially perfect backdrop to that summer city night where you and a particular someone go out for drive. That being said, you’re going to have to keep a finger on the skip button a little too often.

Hymns is an unspectacular, but fairly inoffensive effort, and may even have some appeal to fresh ears looking for ambient and intimate electronic beats with a great supporting voice. There were enough charming moments, enough talent, and there is enough promise in this hopefully rejuvenated group that I am still looking forward to what the new Bloc Party has in store for us.

Photo Credit: Rachel Wright

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