13 - Blur

Much was made of Blur's foray into US alt slackerism. While many viewed it as a contrived attempt to become the British Pavement, it nonetheless pushed Colchester's finest into mainstream American consciousness. This was an achievement that 'Parklife', their biggest selling album, never quite managed. 13 continues on the same thread deployed by the ‘Blur’ album and offers an enjoyably eclectic listen. It's yank leanings are obvious with titles like 'Trailerpark' adding to the American feel. There are mountain top highs every few songs but the weaker tracks veer far too close to the murky waters of the canyon below. There ...

It's hard to believe from hearing the album '13' that only two albums before, Blur were writing songs about living in a house (a very big house) in the country, and were being, seemingly, a pop band completely unashamed of themselves. Then came their eponymous fourth album, which saw Blur take a direction towards a darker, edgier sound. But '13' is dark to the extent of becoming completely unlistenable in places. It is Blur's 'Kid A' - their attempt at trying to shrug off, once and for all, their happy, lighthearted, tongue-in-cheek schoolboy image as kings of Britpop. Having said that, '13' isn't quite as intensely ...

While I commend Blur's continued commitment to musical diversity, I don't think that 13 succeeds in as accomplished a fashion as previous offerings. I find Blur's albums tend to contain a few utterly stunning tracks that really jump out and impress, alongside a selection of very-listenable-to decent non-headliners. 13, however, offers only a couple of truly engaging songs (Coffee & TV and Caramel are my favourites) and the rest are generally a bit average. I found myself compelled to listen to Parklife, Modern Life Is Rubbish and the rest over and over again - indeed, I did so. But 13 goes on my stereo only once in a while because... well, because ...