Armed with a new album, Intimacy, that has been called their best to date, the ever-evolving fellows from Bloc Party prepare to hit the road for the U.S. leg of their latest tour. In the midst of all the traveling and insanity, bassist Gordon Moakes was kind enough to chat with us about why he hates the term “rush release,” how the band goes about creating kick-ass live shows and what the hell e.e. cummings has to do with their latest record.

 

Does the title Intimacy suggest something about the emotional quality of the songs on the album, or does it refer to something else?
I think it does, but it also serves as a good indication of the subject matter on the record too. It’s an intimate-sounding record in places, so I guess the title does it justice.

How does this album differ musically from Silent Alarm and A Weekend in the City? How do you think your sound has evolved over the years?

I suppose we’ve evolved from a straight-up rock band into something else. You can consciously try to write a particular kind of song, but the evolution is not something you notice until you look back. We were more frenetic in the beginning. But there’s still a lot of power. You find different ways to channel it.

 

Matt Tong reportedly had more of an influence on the sound of this album than on previous ones. What in particular did he add to Intimacy?

Matt’s influence is to be as awesome as he can be, and I think he would say himself he’s always wanted to push himself and learn how to express rhythm in new ways. The rhythm, and how it’s written and delivered, is pretty much the key to what we do as a band.

 

What lead you to the decision to rush release the album? Were you concerned with it being leaked?

”Rush release” always has bad connotations for me, as if we put it out before it was ready. It didn’t come out a moment before it was ready, and in this case it probably came out pretty much right when it was ready, instead of three months later as is usually the case, and that’s never a bad thing for a band that are chomping at the bit to get on to the next thing.

 

What do you hope this album will be remembered for five years from now?
I hope it will be remembered as a kind of coming-of-age for our band. There was a lot of angst that went into making the second record and that can get in the way of what you’re ultimately trying to do. I hope we’ve managed  to “get over ourselves’” as you say in America!

 

Your song “Ion Square” includes lyrics from an e. e. cummings poem. What is the particular significance of that for you?

Kele chose that lyric so I wouldn’t want to speak for him. I think it neatly slips into the mood of that song. It’s a song about enduring love, love that outlives a relationship. We all of us have our poetic moments though...

 

With track titles like “Mercury,” “Ares” and “Trojan Horse,” the album makes several references to mythology. Was this a conscious decision?

Some of this was coincidental as it turns out. Kele had working titles for songs, which in the case of “Trojan Horse” and “Zephyrus,” stuck with the songs right through various rewrites of the lyrics. It’s luck, and maybe a bit of symmetry, which can’t hurt.

After the first of the year, you’ll be on tour in the U.K. What do you think makes for a great live show?
For Bloc Party, a handful of things, which make up our unique chemistry—Russell’s flourishes, Matt’s power. I hope it has a fair deal to do with how we play, with the personality we all bring to it. Flashing lights help, so I’m told.

At this point in your careers, how do you define success for Bloc Party?

Hmm. I think the real success is to be in the position to make any sort of record, and not be told what to do by anyone outside of the band. The freedom to carry on.

 

By Erin Gaetz