it is great, but, if you think about it, its completely dancable, if, again, a ballad.

well, i like an onslaught! I was hoping for something like tulips, which still has the PiL type bassline. But no...

i think this is the considered backlash TO the backlash.
i think we're all (what are posting here) still categorically fans, just think that they've made some mistakes in the record.

i meant that blue light was shit in that it does sound the same as a great song taht comes 2 tracks later, so cant help but fail to impress. kele actually wanted that released as a single as well.

my average-ish review for the uni rag:

Bloc Party – Silent Alarm
Bit of a funny title for a record so heavily hyped as this – whether alarming or not, its certainly not going to slip past in silence. With Bloc Party having been tipped in the BBC’s “Sound of 2005” poll (no empty bluster – last year’s equivalent featured then-unknowns Keane, Scissor Sisters and, pertinently, Franz Ferdinand) for big success this year, their hopes rest on this record’s fashionably tailored shoulders.

What with the slew of great singles that preceded the album (the thunderous, Factory Records-esque “She’s Hearing Voices”, “Banquet”’s Apache disco and their first Top 40 hit, “Little Thoughts”), the hype has been more than lived up to.
However, clearly a little worried at having the same criticisem aimed at them as the afore mentioned Franz – that the album was a collection of just-too-darn-similar wannabe singles, the Party have sacrificed their finest pop moment, the beautifully uplifting and danceable-as-all-hell “Little Thoughts”. They’ve tried to make a more cohesive Album, one that will stand up to repeated listens and stay on constant rotation on the most discerning hi-fis the nation over.
In this respect, frankly, they’ve failed. It’s not that there’s a tune of the thirteen that could reasonably be slandered as “bad music”, just that a few too many slip without argument into a dull nether region, too apathetic even to shrug. In an attempt to avoid being labelled one/two trick ponies, the band has over compensated and proved their such accussations right.
Its tempting to dwell on this minor criticism, caught up in longing for what could well have been an era defining album, but that seems churlish when what remain are a number of fine, fine pop songs, for headphones and car stereos, dancefloors and bedrooms.
Bloc Party take the naked, skewed romanticism (and anguished yelp) of the Cure and attach it alternately to awesomely catchy, propulsively rhythmic tidal waves of sound (exemplified in the charging “Helicopters”) and pretty, almost ambient bliss-pop (see “This Modern Love” for details). It’s testament to the skills of Paul Epworth (The Streets, Babyshambles, Mystery Jets) as producer that both of these extremes are captured so vibrantly and innovatively.
“Something glorious is about to happen” hollers frontman and future teen pin up Kele in the tumultuous “Positive Tension”. Should they build well on the promise demonstrated in this LP many peaks, you’d be a fool to bet against him.