Remember Those Who Have Fallen
In November 1998 the murder of transgender woman Rita Hesler sparked the creation...
Bloc Party Get Intimate
About a year ago, Kele Okereke from the UK band Bloc Party made headlines when he came out during an interview with The Guardian. According to Kele, he finally decided to speak because as a an indie rock icon of Nigerian heritage, he could be a role model for young gay kids out there.
“I guess that’s the only reason [to speak out], isn’t it? To speak to young people in their impressionable formative years – and say something that could help them make sense of their lives,” said Kele back in August 2007. “Lessen the sense of alienation and isolation that they might have. I think that’s something that definitely… I’d be proud of. That we could say that there are alternative ways of behaving, of living one’s life.”
Fast forward 12 months and Kele Okereke is making headlines again. Last Tuesday his band Bloc Party announced the unexpected, and practically immediate, digital release of their third studio album, Intimacy. Kele calls Triple J’s Breakfast show to confirm “literally an hour after the announcement”. Twelve hours on, worldwide media outlets have fervently erupted and Kele is frantically seeking a car to take him and drummer Matt Tong to their first radio engagement since the news broke.
Kele’s not prepared, but a painful stutter takes his articulation hostage only when there are pressing issues at hand, or in moments of nervousness. “I’ve completely forgotten about this interview,” he babbles, “but it’s fine, I’m totally fine.” He’s anything but. I assume the role of Lamaze coach: Breathe, breathe.
Kele freezes, audibly taking deep breaths. His mind clear, he remembers he should still be panicking and begs me to call back in “exactly five minutes.” I do. Now relaxed, ensconced in a taxi the frontman apologises. “It’s been a pretty exciting morning. I couldn’t sleep very well. But these next few days are really important.”
Kele described Intimacy on air as “half raw, visceral and half synthetic, hyper-real.” The first single was released in a digital treasure hunt, with fans alerted by a timer on the Bloc Party website. At the countdown’s expiration, a directive to Zane Lowe’s Radio 1 show was posted, whereupon Zane played Mercury for the first time. Interesting concept, I muse. “Yeah, I think that’s one thing we’ve learnt. The industry’s changed so much in the last year.” The stutter threatens. Perhaps his ideas are coming too fast to keep up with. “You can do whatever you want. Why not drop an album when it’s finished instead of sitting on it for six months?” Why not indeed. Mere hours after we speak – as if to illustrate – the second single, Trojan Horse, appears on their MySpace.
The blog-dwellers are trying to ascertain whether Mercury is indicative of the album’s entire feel. Kele emits a groan of dismay. Well, why that track first? Simply put: “We’re really proud of it. It was one of the first ones we finished.” I sense the panic rising. Kele’s cab has arrived at Matt’s hotel. “Can you call your guy, ‘cause I’m on the phone?” he pleads to the driver. Without a trace of sarcasm he continues, “No? I’ll go and see if he’s in there will I?” Cue apologies as Kele dashes from the cab.
I’m interested in the Greek mythology references in the track listings. Digging deep, one could unearth links to Ionian philosophy and history too. Do the thematic titles suggest a musical or lyrical thread throughout? “Ummm,” he says distractedly, “could you please put a call through to Matt Tong’s room? T-O-N-G? Just tell him that the taxi’s out the front, thank you.” His sing-song ‘Thank you’ makes me wonder why he’s gained a reputation as being difficult. He’s not far off ringing Matt and offering to drive himself. The hospitality industry clearly isn’t about to stop just because Bloc Party’s launching an album.
Kele races through the lobby, across the crowded footpath and back into the cab. “It wasn’t consciously thematic,” he glances out the window, announcing, “He’s coming… as a kid I was a big fan of Greek mythology. Those stories and characters have stayed with me [but] that’s it. The working titles have stuck. You realise six months down the line you can’t name it anything else because you’re so attached. Trojan Horse was lyrically a very different song at the end of recording but the title was still there. To me, the song rises and attacks like a Trojan horse.”
So the track Biko? Not anti-apartheid activist Stephen Biko? “In my parents’ language,” he stammers, “it’s like a term of, yeah, an affectionate term. Nothing to do with Stephen Biko. Or the Peter Gabriel song.” I express relief. That would have been a bit too obvious for a Kele Okereke concept. He laughs with me.
People like obvious connections though. Can you imagine what’s going to happen with the song Zephyrus? Zephyrus, in Greek mythology, was the god of west wind, bringer of spring breezes. His unrequited gay crush ends in violence. For Kele, who has previously kept his sexuality card close to his chest, this should be an anticipated target.
“Sorry I’m late,” Kele is greeting another press hound. I start to wind up my call. “Oh no, I’m so sorry,” he exclaims. “Let’s start it all again. Ask me anything!”
At least give me the Zephyrus story, I chide. “Without giving too much away, there’s a recurrent sound through the song – kinda like the wind whistling, to me. The lyrics are a whole other issue. I wouldn’t get too mythical until you hear the music. It’ll make sense then.”
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davidb
said on the 27th Aug, 2008