Bloc Party - 'A Weekend In The City' (Wichita) Released 05/02/07

The shadow of the debut will eternally loom over its successor, regardless of the timing, quality or innovation of the follow up. Once the benchmark has been set, the band in question must deliver a superlative sequel. Many have fallen by the wayside of the dreaded ‘second album syndrome’, yet Bloc Party are well versed in the expectation game. After riding in on a wave of intense hype first time round, they had enough nous to bide their time, watch the wave break, and emerge comprehensively victorious with a sublime debut.

Dealing with expectation is one thing, delivering upon its promise is another. Who needs foresight? Stepping out of the shadow of 'Silent Alarm' should have proved to be impossible, yet Bloc Party haven’t tentatively stepped out on their return, they've confidently strode.   There's no escaping 'A Weekend in the City' is decidedly more downbeat than its predecessor. 'Kreuzberg' and 'SXRT' draw heavily on the shimmering blueprint of 'Plans' and 'So Here We Are' accentuating their already elaborate effect and as such, the legacy of 'Silent Alarm' is poignantly prevalent. Much in the same way their debut wasn’t an album of brimming with staccato guitar bursts or 10 or so different variations of 'Helicopter', 'A Weekend...' entirely dispenses with the flailing, immediate, three minute guitar dynamic and draws on an introspective listen.

Taking the same downbeat dynamic, it emerges as much of a slow burning success as Silent Alarm. There's progression here also, with the stammering tempo and monotone cathedral chant of 'The Prayer' a cheeky red herring of album expectation. It’s as far removed from anything they’ve ever done and aspects of it – like the monk chanting and ethereal vocals - straddle most of the album.

'Song for Clay (Disappear Here)' sets a foreboding tone as Kele barks "East London is a Vampire, it sucks the joy right out of me" as they outline an ominous sounding mean streak. While 'Song For Clay' bares its teeth, the Aphex Twin style glitch of 'Hunting For Witches’ itches with truncated sound clips and morphing, staggered guitar before gradually evolving into the albums first restless indie disco filler.