Modern Life Is Rubbish established
Blur as the heir to the archly British
pop of
the Kinks,
the Small Faces, and
the Jam, but its follow-up,
Parklife, revealed the depth of that transformation. Relying more heavily on
Ray Davies' seriocomic social commentary, as well as
new wave,
Parklife runs through the entire history of post-
British Invasion Britpop in the course of 16 songs, touching on
psychedelia,
synth pop,
disco,
punk, and
music hall along the way.
Damon Albarn intended these songs to form a sketch of British life in the mid-'90s, and it's startling how close he came to his goal; not only did the bouncy,
disco-fied
"Girls & Boys" and singalong chant
"Parklife" become anthems in the U.K., but they inaugurated a new era of
Brit-pop and lad culture, where British youth celebrated their country and traditions. The legions of jangly, melodic bands that followed in the wake of
Parklife revealed how much more complex
Blur's vision was. Not only was their music precisely detailed -- sound effects and brilliant guitar lines pop up all over the record -- but the melodies elegantly interweaved with the chords, as in the graceful, heartbreaking
"Badhead." Surprisingly,
Albarn, for all of his cold, dispassionate wit, demonstrates compassion that gives these songs three dimensions, as on the pathos-laden
"End of a Century," the melancholy
Walker Brothers tribute
"To the End," and the swirling, epic closer,
"This Is a Low." For all of its celebration of tradition,
Parklife is a thoroughly modern record in that it bends genres and is self-referential (the mod anthem of the title track is voiced by none other than
Phil Daniels, the star of
Quadrophenia). And, by tying the past and the present together,
Blur articulated the mid-'90s Zeitgeist and produced an epoch-defining record. ~ Stephen Thomas Erlewine
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