Blur - The Magic Whip Review

Despite Blur's beloved back catalogue, the band has never stuck to a distinct sound. Starting off as plastic Madchester before offering a critique of the influx of American grunge with Modern Life is Rubbish before creating the southern England dose of Britpop but then embracing the American Indie scene and letting Graham Coxon take near full control and finally, for twelve years, settling for what has become the standard of Damon Albarn; world music.

It raises the question of why Blur became one of the biggest bands of the nineties? Was it the fact that in the midsts of Britpop that Blur was the thinking man's contender as opposed to the lumbering but reassuring oaf called Oasis? 

Was it Damon Albarn who was capable of telling stories with his lyrics instead of trying to simply finding words that rhymed? Was it Graham Coxon, one of the most underated guitarists trying to break out? Was it the sum of all parts for that magic period of a year with Modern Life... and Parklife?

Or maybe they were simply consistently good and the decade long absence has made the heart grow even more nostalgic for the whatif? What could Blur do next and can it top everything they've done before it?

Sure, we've had some sprinklings of new music in the gap between the band's 2009 reunion and The Magic Whip's release, all rekindling what made Blur so enjoyable in the first place but the question remained, how well can an entire album twelve years after a split possibly be? 

Doubly so because one of the more influential members was absent for then final album Think Tank? How does this change the dynamic and what kind of album could be crafted in this new world of music?

Worst to Best Morrissey Albums (...Including Bona Drag)

Despite eating meat, my hatred for PETA, my generally cheery demeanour; I am a massive fan of The Smiths and a massive fan of Morrissey's solo career.

A Few Words on... Damon Albarn - Everyday Robots

Blur and Gorillaz frontman Damon Albarn finally goes solo despite being the driving force behind Blur's final album and the entirety of Gorillaz's discography. An album that, surprising has very little to do with his previous outputs but fans are bound to find something to like.

Noel Gallagher's High Flying Birds Review

I remember attending the V Festival in 2009 when Oasis pulled out at the last minute due to Liam. I remember the crowd booing every time the message appeared on the giant screens like something out of 1984. I remember James mockingly singing Wonderwall with the aid of a helium balloon which received cheers and laughter from the frustrated crowd.

I remember Snow Patrol taking the helms of headliners and delivering a surprisingly excellent show for frustrated fans, mentioning Oasis by name on the encore and receiving a choir of boos, then quickly playing a cover of Champagne Supernova and the crowd appreciating it more than any other song played previously all weekend.

Not long after these events, Oasis officially broke up for keeps this time (compared to all the teasing previously) and earlier this year, Liam and co under the moniker Beady Eye (which seems to have been invented for the soul purpose of having the CD next to The Beatles in record stores) released it’s debut Different Gear, Still Speeding without the constraints of Noel and boy howdy was it dire.

But anyone with any sense would be more interested in Noel Gallagher who is unquestionably responsible for Oasis’ best songs. Without the presence of his annoying brother holding him back; we’ve wondered what would lie ahead of the aptly titled Noel Gallagher’s High Flying Birds?

Would it would be a wholly departure of the generic guitar orientated Britpop that Oasis latched on to, well beyond it’s sell by date? Would it lyrically cover subjects Oasis dared not tread previously? Would it be the bestest, most amazing album ever created by anyone ever?!

In short; no.

In long:

It’s hard to call Noel Gallagher’s High Flying Birds (the album, not the band itself) a debut as Noel has been in the industry for nigh on two decades. I’m also quite puzzled as to why people expect something different other than the guitar rock styling’s that have composed Oasis back catalogue since Definitely Maybe.

I mean; it was announced the follow-up album to this would be more electronically influenced but come on; it’s Noel Gallagher of Oasis! You know, the band that wanted to be The Beatles but didn’t grasp on the fact that The Beatles constantly changed with each album, whilst Oasis basically released the same album four times, each more diluted and pathetic than the last iteration.

There are moments like opener Everybody’s on the Run. Featuring a backing choir, more string orientation, rain-infused soundscapes, it’s a spectacular, if deceitful opening number that shows moments of evolution but really sticks out on retrospective listens as an odd, but awe-inspiring track.

There’s a few more moments where the album attempts to go beyond its stereotypical nature.AKA…What a Life! has chord progression on piano rather than guitar (a consistent approach throughout the album) and is by far; the best track on the album as a loud, bombastic, almost football chant meets House music approach to it.

AKA…Broken Arrow has a tropical drum beat with string samples that sound unexpected but bring the album towards its conclusion. (Stranded on) The Wrong Beach has a backing drum and bass that sounds strangely like Another Brick in the Wall Part II. It has also does away with the obvious guitar solo towards the end and replaces it for striking piano chords which work strangely well.

But that’s where the creativity ends and the rest of the album sounds like well trodden territory, albeit with palette swaps. Whilst I really like The Death of You and Me; it’s basicallyThe Importance of Being Idle with trumpets. Again, I like If I Had a Gun…; but it bares more than a striking resemblance to Wonderwall. Then again, at least Noel has copied good Oasis songs; if he replicated Lyla or Xenu forbid Liam pended monstrosity's like Little James, this review would simply be an image of someone giving the finger.

Ending number Stop the Clocks; an Oasis song originally written for Don't Believe the Truth ends with a chorus of crashing drums, wailing trumpets and an enjoyable laugh. It’s a suitable finale on the proverbial roadtrip (well, that’s my take on the album’s theme anyway).

On the whole, go in with low expectations like I did and depending on your love for Oasis and Noel pended material will determine how much you like High Flying Birds.

For me personally; it’s an enjoyable album that remains consistently good, if a tad too familiar. You can argue that’s basically more of the same with guitar’s effectively relegated for trumpets and pianos, you can say some of the lyrics are a tad pants (“What if I’m already dead? How will I know?”...erm, you wouldn’t?) and you can say it’s a grand example of too much hype and not enough to show for it (aka…Oasis from 1995 to 2008).

But, in an over congested month of releases; Noel Gallagher’s solo debut is enjoyable mixture of stereotypes and familiarity in one neat package.

And really; would we want it any other way?

...Possibly, but that’s what next year’s release is for.

7/10

H