Meanwhile, Albarn’s obsession with suburban depression has shifted to one for global digital depression, and he’s substituted Britain for Hong Kong. These were later structured into alternative rock-styled songs by Coxon. In fact, many of the songs had started out jams.
Musically, the album works with many of the band’s old formulas. While it is helmed mainly by Graham Coxon, it doesn’t match the wonderful, blurry effervescence of his solo, non-Blur albums. “The Magic Whip” is the happy end for which Blur fans had been hoping. It hints that more important things were yet to come.
It’s a moody, memorable soundscape that seems to come out of nowhere. On the other hand, “Sing” is by far the album’s best. But Damon Albarn doesn’t quite know yet if he wants to be Pink Floyd’s Syd Barrett or The Happy Mondays’ Shaun Ryder. “She’s So High,” “There’s No Other Way,” and “Repetition” are highlights. The two genres may have been in philosophical contradiction of each, the rockers and punks of their day, but Blur make the two work for them. Those trendy styles were dubbed shoegaze and Madchester by hype-creating magazines like New Musical Express. “Leisure” shows off their ambition while incorporating the trendy sounds of the time. Like their perennial rivals Oasis, Blur was never content with being underground darlings. Regardless, today I’ve ranked all of the albums in Blur’s discography from worst to best. And Damon Albarn’s humour was born of anger, while Pulp’s oozed wit.īut Albarn and the chaps produced some memorable songs and albums. Blur’s musicians were nicely dressed, while Suede’s were dressed lavishly. Blur was also the most commercially savvy of the Britpop bands, jumping from one style to another and making ranking their discography difficult.īlur was middle-class, while Oasis was working-class. Blur was as British as colonialism, Queen Elizabeth, and 5 o’clock tea.
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