Modern Life Is Rubbish

by

Blur

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As a genre, Britpop has certainly had its moments, but too many of its more noted practitioners haven't quite been able to emerge from the overwhelming shadow of their Beatles influence (hell, Oasis don't even try). Many of these bands, or at least the ones that tend to hit here in the States, mean well, and they're certainly not without talent, but their music ultimately comes up lacking because the originality just isn't there (I'm looking your way, Coldplay). That's where Blur come in, with a sound and vision all their own. Blur's roots are in the same Beatles-derived template that a million other bands have borrowed from, but instead of appropriating this formula Blur twist it around and expand on it to create a style that's recognizably British but still unmistakably theirs. These guys take thirty years of British rock history and throw it in a blender, but what comes out is their own convention-dodging creation. And they're a lot more fun than Radiohead to boot.

The irreverent attitude of original British-invasion bands like The Who, The Beatles, and The Kinks is here in all its glory, but "Modern Life Is Rubbish" is a Britpop album for the mind. The album is filled with odd time signatures, off-center arrangements, and the kind of skewed guitar sound that you won't hear on your local modern-rock station because it's too busy playing the latest terrible Nickelback single. Damon Albarn's voice is usually a bit off-key, but since everything else here is as well, it works perfectly. Blur's quirkiness brings to mind the Flaming Lips more than Oasis, and just like with the Lips, "Modern Life Is Rubbish" isn't just weirdness for its own sake; these guys have a batch of immensely enjoyable songs on their hands.

"For Tomorrow" starts out with one of the catchiest hooks you'll ever hear, and then gets even catchier with a "la la la la la, la la la la la la la" chant that'll rattle around in your head for days. The riff-driven "Advert" actually rocks pretty hard, while "Colin Zeal" even introduces a reggae-dub beat that would do the Clash proud. And you've got to respect a band that would follow up the swooning guitars and and biting vocals of the bizarre "Pressure On Julian" with the joyous, transcendent pop of "Star-Shaped." For its part, the lyrically sly, musically stunning "Chemical World" is a classic, pure and simple. Is there a better lyric out there than "The peeping Thomas has a very nice view/ Across the street at the exhibitionist"? I think not.

For its second half, "Modern Life Is Rubbish" actually manages to get slightly weirder, showcasing the commitment to diversity that truly separates Blur from the crowd of pretenders. After "Chemical World," the album mixes (relatively) straightforward pop with some more experimental stuff, sometimes within the same song (see "Pop Scene" for an example of what I mean). In a real curveball, "Intermission" starts out as a jazzy piano piece before skidding into a fascinating mess of noise and distortion. The distorted vocals, jumbled drum beat, and snatches of guitar noise that make up "Oily Water" combine to form one of the oddest, coolest rhythms you'll ever hear on a "pop" album. "Miss America" and "Resigned" are the quietest, most minimal songs on here, but their music and lyrics still keep them from resembling anything you'll hear on the radio.

To sum up, not only do I consider "Modern Life Is Rubbish" one of the best British albums I've ever heard, but it's quickly become one of my favorite albums of any kind, ever. And given the fact that my CD collection is filled with punk, hardcore, and ultra-extreme metal albums, that's no small achievement. On one final, throwaway note, anyone who likes this album should check out Porcupine Tree's masterful, Britpop-meets-prog-rock-meets-metal album "In Absentia." I think you'll like what you hear.

When Blur recorded their the album "Modern Life is Rubbish", it represented a change in stylistic procedure. This resulted in a more unified approach, and a very listenable experience indeed. "For Tomorrow" is as good of a Ziggy Stardust-era Bowie impersonation as has ever been recorded, but it suceeds in capturing the spirit of the album, rather than sounding like a souless retread. The energy continues through the first side, although "Pressure on Julian" might be slight and eventually annoying. "Chemical World" is another highlight, with clever lyrics and a catchy but awkward refrain. It is also notable for the only time I have ever heard "yes, yes" in a song instead of "yeah, yeah", which is easier to sing. The intermission is nice, but signals the loss of energy in the album. The second side signals a slowing in the pace, and less of an emphasis on the hard-hitting songwriting that dominates the first side. "Oily Water", "Miss America" and "Pop Scene" come to mind as standouts on this portion of the album. However, this does not signal the end. After the "Commercial Break" and some silence, track 68 and 69 are filled with two more songs. They are pleasant, but cheesy music-hall numbers that truly add nothing to the listening experience. This is a good album, and represents a subtle and seemless integration of rock, glam, brit-pop, and electronic elements to create an overall experience, that results in an album that will be enjoyed for years to come. My final review is a three, but a very strong three, indicative of a very good album with certain problems.