ALBUM (TRACK BY TRACK): Blur 'The Magic Whip'

Rating:

After the wait of twelve years, The Magic Whip is the next instalment for Blur, and is their most intimate and honest album so far. Blur seem to be doing their own thing, without aiming for the commercialisation. Albarn, Coxon, James and Rowntree have obliviated the anthem-like songs and are now shooting forward to their new modern era, while still including some Britpop vibes. Most of The Magic Whip seems to fit Coxon’s description of its contents as “sci-fi folk”, and certainly having a reminiscence of Far-Eastern interpretations.

‘Lonesome Street’ is the epitome of the vast emphasis on what Blur are and what they can do. It seems as if the industrialisation of the world and the recession has had an impact on Albarn as he sings: “mass produced in somewhere hot”, seemingly singing about Japan, where the album was written and produced. ‘Lonesome Street’ almost resonates the sounds of ‘Country House’; The chorus and climax of the dystopian song is a mixture of all things Blur, including the synth sounds and the technological combustion of police sirens and chatter of robots. The background vocals provided by Alex James and Graham Coxon remind us of the Blur that we certainly have been missing.

‘There are Too Many Of Us’ is the most synth and psych that the album will get. The drums convincing us as a march and this will certainly be the move forward to their new style. Albarn sings like a philosopher: “We pose this question to our children/same mistakes we made”. The robotic technological background music reminds us that this world is modern and this is the modern Blur, perhaps the real Blur. The song seems to remind us that we are always being watched: “There are too many of us/but you won’t seem to care.” Albarn appears to have used his surroundings well and must have been inspired by the hustle of Tokyo.

The first single released for The Magic Whip, ‘Go Out’, has Coxon’s DNA all over it, with his choppy guitar and James’ thumping Bass it shows us a slight insight to the old Blur. “Go Out” shows us that this is the album that is the most intimate and makes everybody feel slightly closer. The main chorus is definitely catchy and shows us that Blur are the anthem makers, with the backing noises of Albarn and Coxon making us feel slightly more aware of Blur and their come back.

‘My Terracotta Heart’ provides us with a heartfelt reminisce from Albarn (“If I’m losing you again”). The almost machine-like mass produced backing percussion makes us think that Tokyo certainly had its effects on the band, mostly Albarn. ‘Terracotta Heart’ seems to provide the most intimate reflection from the band; maybe this is being anecdotal, maybe not. The almost relaxing hit at riff from Coxon shows us that this is the song that most teenagers will lay in bed and think about their dreams too, whether these be the teenagers of the ’90s reliving their favourite band or the newcomers.

‘I Broadcast’ is one of the recently released singles from the album and sounds like something that wasn’t made and planned, but more of a jam and a get together, full of guitar riffs reminding us of earlier material. The laughs can be heard from Albarn, showing us that this is what he is meant to do, and he knows it too. It’s the most upbeat song from the album, but the song that will show us what they are meant to be.

‘Ong Ong’ provides an almost fairground atmosphere – with a slight influencing sound of The Beatles perhaps. Coxon’s guitar riffs add to the post-Blur lyrics, as Albarn sings “I wanna be with you/I will be there with you”. This is certainly aiming to be the next anthem for the band at gigs. ‘Ong Ong’ is the most summery tune and we can see this as maybe being the song of the Summer.

Although I am pretty certain Albarn or Blur have never been to the North Korea, ‘Pyongyang’ seems like Albarn has inhaled everything about our beliefs and blown it out his song-writing skills. The 10-minute long song provides a background to our minds beliefs about this country, and the distance humming of Coxon and Albarn send us into a pragmatic flow. ‘Pyongyang’ seems to send us into escapism from mundane life and into Albarn’s mind, showing how Blur still seeks to find hope and beauty in desolation.

‘New World Towers’ is the most grungiest the album gets, picking up the old days that they seem to have left behind for their new, more modern scene. Albarn sets a perfect image of the world from his point of view (“Love love so far away/New world towers”) showing us that maybe Albarn has become mundane of his surroundings. The track seems to present more of a poem of surroundings, rather than an anthem that we may have thought, reminding us of Albarn and his everyday robots.

The ‘Ice Cream Man’ seems to be the tie-up of the whole album, including the perfect “Magic Whip” on the album. ‘Ice Cream Man’ seems to be more of an experiment and a result of what they have seen and their childhood memories. The slight twinkle on the keyboard suggests a child-like mind and we can perceive Blur as just having a good time. Although Coxon’s guitar riff seems to stick in the head of many and will be something to remember.

‘Ghost Ship’ is a pretty song, almost reminding us of the post Plastic Beach days and the bromance which can be seen throughout this song. This robotic technological expression can be seen throughout all of the album, showing us the almost arcade-like scene of the whole album, and that this is an experimental album highlighting the fun that Blur must have had making it.

The Magic Whip is released on 28th April via Parlophone Records.

Daisy Scott