The Britpop giants let the world sink in – it’s understandable that they don’t get a big woo-hoo from them.
As much as they resisted being pigeonholed and proclaimed the death of the genre with their ’97 album (the one with “Song 2”): hardly any other band of their time fit the term Britpop so well. Blur have always been British and always pop – even in their most avant-garde times. Seen in this way, their first album after eight years can be considered one of their more radical ones, although or because it is very reserved. The not for nothing titled “The Ballad” at the beginning sets the tone and builds a bridge to the dramatic end of the album THINK TANK – its closer “Battery In Your Leg” sounded like someone drowning, “The Ballad” is the outstretched hand protecting against certain doom.
The following “St. Charles Square” is the big exception on the track list as a (terrific art) rock song. While the lead single “The Narcissist” at least danced cautiously on its two chords, the mood of band boss Damon Albarn’s solo works otherwise reigns supreme. How could it be otherwise with an album intended as a reflection of recent world catastrophes?
Like so many other things, it’s a question of expectation: If you do without unnecessary new editions of WooHoos, Wacka-Wackas or girls who do boys like they’re girls and approach this album with an open mind, Albarn’s heart will expand. It’s just unfortunate that guitarist genius Graham Coxon is somewhat neglected – graceful figures like the solo in “Russian Strings” and the riff of “Goodbye Albert” may be in the limelight more often on the next record, hopefully in less than eight years.