While their several of their up-tempo singles have breached the UK Top Ten, it is the slow, emo-ish filler tracks that make their albums something of a hit-or-miss.

Bloc Party’s promise comes from singer Kele Okereke’s ability to combine a reggae-style voice with a swagger that hasn’t been done since The Clash.

Their weakness comes from their inability to sustain a consistent feel throughout an album.

Their latest offering, ‘‘Intimacy,” threatens to break the mold, with several rockers in the vein of early hits such as ‘‘Banquet” and ‘‘Like Eating Glass.”

The slower numbers, while still filled with Okereke’s falsetto and guitarist Russell Lissack’s slow, meandering guitar lines, manage to get some rhythm behind them, something they haven’t done in the past.

While Bloc Party’s debut album gave them indie rock cred and a loyal following, it was their sophomore effort in which they delved into the electronic soundscapes that have dominated British pop for the better part of this decade.

Their first two CDs could be combined into one amazing CD, which isn’t necessarily the feedback you want from two albums spread out over two years. This album seamlessly combines the clipped power chords and heavily fuzzed riffs with electronic squeals and squeaks to create a much more solid record than they have previously released.

The key to Bloc Party’s sound is drummer Matt Tong. With a drumming style that is the musical equivalent of a high-heeled centipede scurrying over a marble floor, his style is essential to the jittery sound that has become their trademark.

Tong feels the need to fill every beat with rhythms on drums, cymbals, anything that will make noise, and Okereke plays off the percussion very well. This results in a singer⁄drummer synchronicity that reminds one of Roger Daltrey and Keith Moon.

If the title of the album and the soft purples of the liner notes serve as point, the lyrics serve as counterpoint.

Most of them are about alienation from a significant other, as Okereke sings about specific things he remembers, and how they are starting to fade from his memory now.

Okereke allows his vocals to be electronically manipulated for the first time in the album’s first two singles, ‘‘Flux” and ‘‘Mercury.” Tong keeps a tight rhythm in the former, while the latter is a little looser, allowing Okereke to use his voice as a lead instrument.

The highlight of the CD is ‘‘Talons.” Inexplicably located ninth in the rotation, the song starts with an irresistible electronic rhythm, before the whole band comes in doing what they do best, rocking to the fullest.

While the introduction of electronica enhances what this band has to offer (which is more than can be said for Guns N’ Roses or the Smashing Pumpkins), they still have some work to do in creating a consistent album from start to finish.

Given that this is still a young band on their way up, they may figure it out one day, and when they do, look out Billboard Top 200.