Song for Clay (Disappear Here)

''A Weekend in the City'' is the second studio album by British indie rock band Bloc Party. It was recorded at Grouse Lodge Studios in Westmeath, Ireland, in mid-2006 and was produced by Jacknife Lee. The album was refined and mixed at several locations in London at the end of 2006. It was released on 24 January 2007 in Japan and in the first week of February in the rest of the world, with Wichita Recordings as the primary label. The album peaked at number two on the UK Albums Chart and on the Irish Albums Chart. In the United States, it entered the ''Billboard'' 200 at number 12.

Bloc Party worked to craft an album that distanced them from the conventional guitar band set-up by incorporating more electronically processed beats and additional instrumentation. Computer programs were extensively used to enrich and amend recorded takes, while a string sextet was hired to perform on some of the tracks. The subject matter of frontman and chief lyricist Kele Okereke's lyrics for ''A Weekend in the City'' covers issues such as drug use, sexuality, and the media's use of moral panic surrounding issues such as terrorism. The album's three original singles, " The Prayer", " I Still Remember", and "Hunting for Witches", address these themes respectively.

Bloc Party's new musical directions and more forthright lyrics either impressed or alienated critics. Reviewers generally treated ''A Weekend in the City'' as an important stepping stone for the band members in their quest for musical maturity, while ''The Guardian'' included it in its list of the "1000 Albums To Hear Before You Die". In November 2007, the album was re-released globally—with the final single, " Flux", as a bonus track—to coincide with Bloc Party's extensive touring schedule.

Origins

All band members of Bloc Party conceived ''A Weekend in the City'' during 2005 while on tour in support of their critically acclaimed debut album ''Silent Alarm''. Despite missing their home city of London, the quartet became increasingly disillusioned with the culture in the area each time they sporadically returned. Band member Gordon Moakes has noted, "The contrast we saw between being away on tour and being home ... we would see that London wasn't changing really and that the people we'd grown up with were part of that." Okereke wrote many songs in 2005 and early 2006 and used a concept he called "Urbanite Relaxation" to expand upon the themes of life and leisure in the metropolis. The band recorded around 30 soundchecks for the initial lyrics using a MiniDisc player.Baal, p. 77 The rest of the tracks were written in April 2006 before they entered the studio recording process.

The band members drew up a shortlist of possible producers in early 2006, which included dance music-oriented staff such as Chemical Brothers sound engineer Steve Dub and high-profile producers like Garret "Jacknife" Lee. At the time, Moakes told ''Rolling Stone'' that the album would hopefully include electronic, processed beats and a sound in the vein of alternative rock band Radiohead and indie rock ensemble TV on the Radio. Bloc Party wanted to expand their sonic palette without losing the musical "jerkiness" of ''Silent Alarm''. They selected Lee—who had worked with world-renowned act U2 and indie rock band Snow Patrol—based on the rapport that developed between the two parties while recording the demo song "I Still Remember", which later appeared in ''A Weekend in the City''.

Moakes has explained the choice of producer by stating that the band members were looking to work with someone who could help them craft an accomplished album, "although as much as anything it's about finding someone who you'd want to spend six weeks in an enclosed space with". Before the studio sessions, Bloc Party listened to varied musical sources, from composers Philip Glass, György Ligeti, and Krzysztof Penderecki to urban artists Amerie and Missy Elliott. The band members were largely disillusioned with the evolution of contemporary guitar music and aimed to re-create the highly stylised production values of R&B and hip-hop records,Baal, p. 74 while relying on an atmosphere similar to neo-classical music.

Recording

In mid-2006, Bloc Party travelled to Lee's Grouse Lodge Studios in Westmeath, Ireland, to record ''A Weekend in the City''.Murphy, p. 36 The band members initially worked by experimenting with their respective instruments and sound check arrangements. Moakes additionally focused on using different types of synthesiser. All parties soon moved to the main recording room, a large area with "a lot of natural ambience" according to sound engineer Tom McFall. A makeshift booth was built around the back of the drum kit to reduce any sonic interference, while a roof was sometimes used over drummer Matt Tong to isolate a pure sound. Different types of microphones were used for each component of the drum kit. The miking scheme was crucial to prepare the drum tracks for the looping and processing Lee planned using production program Logic.

The band worked by setting up all the instruments with only a single power amplifier. McFall has pointed out that distorted and heavily compressed mics were used to capture some of the room's ambience "to add a bit of grit" to the instrumental tracks; the recordings were often processed further using distressors, special types of compressor noted for their distinctively aggressive sound. The production staff tried other unconventional effects once the basic tracks were recorded. The band sometimes performed while Tong's kit was re-amped and played sections live while a brick was placed on the sustain pedal of a piano to capture the vibrations during the performances. During the six weeks at Grouse Lodge, Bloc Party tried multiple versions of songs and, at times, attempted playing live alongside recorded versions of the same track.Murphy, p. 40

Lee recorded everything using Pro Tools and treated the parts as individual stereo files in Logic. The drum and guitar tracks were processed using computers.Murphy, p. 38 Much of the synthesiser-sounding parts of the album were generated by Russell Lissack's lead guitar following his extensive use of pedal effects. Lee added the live string, synth, drum machine, sample, and ambient noise tracks to create an expansive, hyper-stereophonic final product. After finishing the instrumental album, Bloc Party left Ireland to continue touring. Okereke later returned to Lee's studio to add the vocal tracks to the album;Baal, p. 78 he has noted that he tried to "convey range and dynamics" rather than simply yelp the lyrics. Several track names were changed following the voice sessions: "Merge on the Freeway" became "Song for Clay (Disappear Here)", "A Prayer to the Lord" was renamed "The Prayer", "Wet" became "On", and "Perfect Teens" was renamed "Where Is Home?".

Promotion and release

Bloc Party confirmed a preliminary track list of 13 songs in August 2006; this included future bonus tracks "England" and "We Were Lovers". A low-quality rip of ''A Weekend in the City'' was leaked in November and showed a track list of 11 songs. Wichita Recordings did not comment, but the band members were quoted as being worried about a reduction in the potential impact of the album's content and sales. Bloc Party started a promotional tour of North America the same month with Panic! at the Disco, but cut it short after three concerts when Tong suffered a collapsed lung. The focus was changed to interviews throughout the world to explain the album's stylised lyrics and composition in the run-up to its release.

Final tweaks on the album were completed in December 2006 in London.McLean, p. 18 A high-quality version was leaked in January 2007 and its contents were confirmed by Okereke. Journalists who obtained an official copy of the album's final mix suggested that it featured electronically tampered rock soundscapes in the vein of Radiohead, New Order, and Björk. Bloc Party previewed ''A Weekend in the City'' in its entirety on 24 January 2007 at the Bournemouth Old Firestation, a performance which coincided with the Japanese release of the album. The first single, "The Prayer", was released on 29 January. ''Note: User search required.'' The band performed at a special BBC Radio 1 showcase at Maida Vale Studios on 30 January as a precursor to a February promotional tour of the UK.

The album was released in the rest of the world in the first week of February. The title comes as a tangent to the central theme of the album, "the living noise of a metropolis". The cover art is part of ''A Modern Project'' by German photographer Rut Blees Luxemburg, famous for her night cityscapes of London and for the cover art of The Streets' ''Original Pirate Material''. The photograph is an aerial image of London's Westway, which shows the road and the adjacent sports pitches lit by the sodium glow of street lamps,McLean, p. 13 and was chosen because the band believed "it was important we captured London breathing". Luxemburg has explained that "in this picture you can see how intricately and optimistically public space in the city is shared".Baal, p. 80

Content

Lyrics

Okereke's lyrics attempt to juxtapose the monotonous events—nights out on club dancefloors and waiting for a train—with the seemingly epic experiences—terrorist attacks and racial angst—witnessed in a city environment. The direct narrative approach divided reviewers. BBC
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