Blur: The Magic Whip review – friends reunited for a beautiful comeback

Graham Coxon

Groupe / Graham Coxon 933 Views comments

Blur’s made-in-Hong-Kong album, their first for 12 years, overflows with pretty songs and touchingly reveals a band now fortunately reconciled

There are two kinds of band re-formation. The primary is so compellingly simple that the “basic” bands that haven’t carried out it now seem weirdly anomalous. You bury your variations, a course of eased by the passing of time, the sagacity that comes with age and, ceaselessly, the promise of a whopping cheque: if the past 10 years or so have advised us anything about musicians, it’s that few issues are as efficient at resolving those bitter, decade-long feuds over guitar overdubs or backstage catering preparations or the drummer’s taste in wives as the prospect of paying off one’s mortgage. Then you definitely rehearse, e-book exhibits, and knock out the hits, understanding the gang shall be so overwhelmed by nostalgia they gained’t complain even if your singer seems like a person who’s clambered on stage at a karaoke night time after six pints, wrested management of the microphone and started bellowing down it, the Stone Roses having apparently reunited specifically to prove this.

The second includes truly recording new materials, and seems infinitely tough, fraught with the problems: not clumsily besmirching your personal legacy, making music that identifiably matches together with your back catalogue without merely showing to pastiche past glories. Indeed, it’s proved tough enough to deliver reunions to an end: Kim Deal left the Pixies; the Stone Roses and Pulp clearly determined it wasn’t well worth the aggro, while Jerry Dammers just lately noted that his want to document new songs was among the reasons he swiftly exited the reconstituted Specials.

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