Blur
Parklife

THE REVIEW

The official announcement of the new reunion of Blur has come these days. The reunion was completed by a performance at the Brit Awards 2012, with Damon Albarn, to be honest, not in top form, and by the announcement of the iconic Britpop band as the headliner for the closing ceremony concert of the London 2012 Olympic Games, scheduled for August 12 in the British capital, at Hyde Park. Thus, there is no better moment in this new decade to review the band's most representative and timeless album: "Parklife," the third work of the band.

Released in 1994, it is one of the 4/5 fundamental britpop albums, probably the one that synthesizes its essence more than any other and contributed to its mass spread outside of England. It's a compact yet very varied album, where the Madchester influences from the two previous albums, especially "Leisure," are mixed with typical mod influences, high-level orchestrations, and a pop songwriting style that is quintessentially Kinksian, Beatles-esque, and above all Albarnian. The album opens with "Girls & Boys," whose famous bassline and compelling chorus first made it a chart-topping single and then a precious gem in the crown of British music. The second track is "Tracy Jacks," a solid pop rock piece with an engaging riff and a chorus that instantly sticks in your head, enhanced by a Madchester patina that doesn't hurt and finished with delightful accompanying strings. It is followed by the pleasant ballad with strong Britpop veins, "End Of The Century," one of the most loved pieces by the Essex quartet’s fans. The fourth track is the title track, and it is the most mod findable on the album: starting from the The Who-inspired riff, masterfully conceived and interpreted by Graham Coxon, up to the recitation of verses entrusted to mod icon Phil Daniels, actor in the legendary film "Quadrophenia." But what particularly pleases is the historic chorus, which is rigorously sung by Albarn: a true liberating anthem to outdoor life, free and carefree, typical of the immense English parks. Then comes the transition eruption of "Bank Holiday" to reach a triple typically sixties passage, particularly reminiscent of "Sgt. Pepper Lonely Hearts Club Band" by the Beatles or "The Village Green Preservation Society" by the Kinks: the ballad "Badhead" and the orientally psychedelic "The Debt Collector" and "Far Out." Following this pleasant moment, typical of a '67 era concept album, is the beautiful "To The End": a classic Blur orchestral chorus, a celebrated example being the splendid "The Universal" from the next album, embellished by the sweet French voice of Lætitia Sadier from Stereolab.

The album then accelerates with the funky "London Loves," where Alex James gives us further demonstration of his splendid bass playing skills, already highlighted splendidly with "Girls & Boys." From here on, the album pleasantly flows along the lines of what has been said before: "Trouble In The Message Centre," "Clover Over Dover," and "Magic America" are three prototype standards of the typical '90s Britpop song in Blur style, while "Jubilee" is a classic and well-executed piece akin to "Modern Life Is Rubbish." The penultimate track is the splendid and critically acclaimed "This Is A Low," a track almost twin to "To The End," where the chorus is more compelling than ever, bringing the listener to a serene, liberating, and carefree closure with the short but very intriguing "Lot 105," a sort of non-bonus track bonus track, which places a sweet and highly welcome cherry on an already regal quality cake.

What can I say: fantastic album and legendary band. It will be an incredible privilege to be at Hyde Park on August 12 and witness firsthand one of the most important events in British music of this new and difficult decade.