▄
▄█▀
▓▓█
▀██▄
▄█▀ ▄▄▀▀ ▄ ▀▀█▄ ▄█▀ ▀█▄
▐█▌ ▄██▀ █▌▐█▌ ▐█▌
▓█ ▄ ▀██ ▄▀ ▓█ █▓
▐██ ▐█▄ ▀▀▄▄ ▀ ▐██ ██▌
▄ ▐█▓█▄ ▐█▓▀ ▄▓▄ ▀█▄ ▐█▓█▄ ▄█▓█▌ ▄
█ ▐██▀██▄ ▐█▓ ▀ █▓▓ ▐██▀██▄ ▄██▀██▌ ▀█▄
▄ ▐██ ▀██▄▐█▓█▄ ▄██▀ ▐██ ▀██▄██▀ ██▌ █▓▓
▀ ▄ ▀▀ ▀██▄▀▀██▄ ▄█▀▀ ▄▄■ ▀▄▐██ ▀█▀ ██▌ ▄██▀
▀██▄ ▐▓▓▌ ▀██▄ ▐█ ▄▓▄ ▐█▌ ███ █▀▄█▀▀ ▄
▐▓▓▌ ▓▓▓ ▀██▄▀█▄▄▀ █▓ ▀▐██ ▄ ▓▐█
▄▄▓▓▓▀ ▐▓▓▌ ▐██▌■▄▄ █▓ ▐▓▓ ▀▓▀ ▓▄▀▄
▄▄▄██▀▀▐▄▄ ▄▓▓▀▄ ███ ▐█▌ █▓ ▐█▓ ▄▀ ██▌ ▀
▄▓▓▀▀ ▐██ ▀▀ ▐█▓ ▐██▌ ▓█ █▓ ▐█▓█ ██▌
██▀ ██▌ ▀ ▐█▓ ▄██▀ ▓█ R E D R U M █▓▐█▓ ▀ ▄▄▓▓▀▀▐██▐▓▄
██ ▄▀ ▐█▓█▄ ▀▀ ▐█▌: :▐█▌██ ▄▓▓▀ ▀▄ ▀▓▄
▐▓▌ ▐██ ▀█▄ ▐█▌ ▐█▌██ ▓▓▓ ▀▓▓▄
▓▓ ▐██ ▀█▄ ▓█▄▄ ▄▄█▓▐██▌ ▀▓▄ . 2006 . ▐▓▓▓
▀▓▄ ▄ ██▌ ▀█▄▄ ▀▀▀███████▀▀▀ ▄▐██ ▄▓▓▓▓
▀▀■ ▀▓▀ ▄▀ ▀▀██▄▄▄ ▄▄▄██▓▄ ▀▀ ▄▄ ▄▄▓▓▓▓▓▀
▀▀▀███████▀▀▀ ▀▀▀ ▀▀▀▄▓▓▓▀▀
▄▓▓▀
. .. is proud to present you another fine release .. . ▓▓▀
▀▓
▀
Bloc Party - Hymns
▄
Tracks.: 15 █
Label..: Infectious Music ▄
Genre... Indie ▀ ▄
Source.: CDDA ▀██▄
Encoder: Lame 3.98.4 V0 VBR NEW ▐▓▓▌
Quality: mp3 VBRkbps 44,1kHz Joint-Stereo ▄▄▓▓▓▀
RipDate: Jan-30-2016 ▄▄▄██▀▀
▄ ▄▓▓▀▀
▀▄ ██▀
▓▄██
▄▀▀▀▀▄▄▄▄ ▓▓▓▌
█ ▀▀▀▀▀▓▓▄▄▄▄▄ ▄▓▓▀▓▓
▀▄ ▀▀▀▀▀▓▓▓▓▓▀▀▀▀ ▀▓▄
▀█▀ █▀█ █▀█ █▀ █▄▀ █▀▀ ▀▀■
█ █▀▄ █▀█ █▄ █▀▄ ▄▄█
..#. ..Trackname. ..Length.
01 The Love Within 04:38
02 Only He Can Heal Me 04:05
03 So Real 03:24
04 The Good News 03:50
05 Fortress 04:38
06 Different Drugs 05:26
07 Into The Earth 03:59
08 My True Name 05:35
09 Virtue 03:58
10 Exes 04:04
11 Living Lux 04:06
12 Eden 04:01
13 New Blood 04:40
14 Paraiso 03:58
15 Evening Song 04:46
.Total.. 65:08 min
▄
█
▄
▄ ▀
▄██▀
▐▓▓▌
▀▓▓▓▄▄
▀▀██▄▄▄
▀▀▓▓▄ ▄
▀██▄ ▄▀
██▄▓
▐▓▓▓ ▄▄▄▄▀▀▀▀▄
▓▓▀▓▓▄ ▄▄▄▄▄▓▓▀▀▀▀▀ █
▄▓▀ ▀▀▀▀▓▓▓▓▓▀▀▀▀▀ ▄▀
■▀▀ █▀█ ▀ █▀█ ▀ █▄ █ █▀▀ █▀█
█▀▄ █ █▀▀ █ █ ▀█ █▀ █▄█
Shortly before Arctic Monkeys came along, you could
divide UK indie into three camps: It started with the
Libertines, then came Franz Ferdinand, and finally Bloc
Party, a four-piece from London's New Cross. Each
songwriter commanded his own archetypeùback-alley
dreamers Pete and Carl, suave epicure Alex Kapranos,
misfit idealogue Kele Okerekeùand took a unique grab-bag
of influences from the British canon. Alex Turner once
said he walked "the lyrical tightrope between Jarvis
Cocker and Mike Skinner," and while itÆs fair to say
Okereke, a clumsier wordsmith, is not a lyrical
tightrope-walker, heÆs a master of the shallow dive. His
grand proclamations ("I am trying to be heroic/ In an age
of modernity," began A Weekend in the City) scale queasy
heights, plummet theatrically, and manage improbable
landings.
Bloc Party's last record, 2012Æs Four, was billed as a
return to form but lacked the cool menace of the early
stuff, which channeled Manic Street Preachers as much as
Wire or Joy Division. Silent Alarm, their 2005 debut,
wasnÆt the best UK indie record of its era, but it was
one of the savviest, and maybe the angriest. On follow up
A Weekend in the City, Okereke wrote boldly about
subjects he took seriouslyùthe isolation of modernity,
upper-crust London's coke-fueled opulence, the absurdity
of MTV, the disappointing political views of teenagers in
shopping malls, the selfishness of ex-lovers, and,
perhaps underpinning it all, the "2nd generation blues"
of a black twenty-something living in a city that wanted
to destroy him. Despite occasional misfires, Okereke won
us over because he embodied a role his contemporaries
wouldnÆt touch: that of the outsider genius making sense
of a corrupt world through musicùmusic he believed, or
refused not to believe, would improve it.
Inspired by a Hanif Kureishi talk Okereke saw in London,
Bloc PartyÆs serene fifth LP observes the void of
evangelism in present pop culture, and tries to fill it.
But the notion that our jaded generation needs nothing
more than a dose of devotional art is tired, and while
last-ditch religion per se isnÆt OkerekeÆs ticket here,
thereÆs an awkward sense that the 34 year old is
clutching at spiritual straws, rather than relating an
honest-to-God epiphany.
The good news is that "The Love Within," Bloc PartyÆs
comeback track, an indie disco-pop hybrid that is somehow
both garish and bland, is comfortably the worst song on
Hymns. A little better is "So Real," which trails a
Silent Alarm throwback riff over low-key soul and
hangover-soothing deep house; on "The Good News," a
similarly midtempo Blur pastiche, a down-and-out narrator
trudges from "the Gospels of St. John" to the "bottom of
a shot glass."
That Okereke writes clunky lines by choice is
conceivable, and you see why he might: a ruthless
commitment to writing economically; overcompensation for
the tryhard smartassery of youth; or a self-fulfilling
paranoia that jarring sincerity is Bloc PartyÆs redeeming
gimmick, and fixing the leaky roof would require tearing
the whole thing down and starting over. It's more likely,
though, that between long ba