Blur
Parklife

THE REVIEW

It's the Trainspotting generation, the one that didn't see a bright future (after all, "who needs reasons when you've got heroin?" -Cit.-).

Oasis and Blur dominated the charts, but as usual, the media turned art into a mere commercial contest. Blur was seen as bourgeois people playing pretentious pop for other bourgeois. The more rock-driven Oasis, on the other hand, were immediately deified by the public and critics.

Today, 2017, more than twenty years later, things have changed a bit. Liam Gallagher has become a caricature of himself, acting like the Pino Scotto of Twitter, mocking poor Noel, who, instead, is having good success with an interesting side project. Two years ago Blur released a high-quality album, and Damon Albarn's solo career has borne fruit with Gorillaz, Good, The Bad and The Queen, and the recent Everyday Robots.

Parklife today can be the true emblem of Britpop alongside Different Class and Morning Glory. An album that satirizes that generation of burnouts, average people, without "charm", the middle class ironically narrated by a group not exactly sober, as even the band members went through thick and thin, from addictions to periods of little visibility.

Parklife is an album to be remembered, even if there are already a couple of reviews, but the more it's talked about, the better. Opening with the widely famous Girls and Boys predicts a great pop journey with many references to the Kinks, Beatles, and Stone Roses. However, it results in a work with a mature and personal sound due to the excellent use of instruments and a lighter energy and positivity than perhaps those more serious bands of the time.

What can I say: I'm pleased to remember this milestone of the '90s and a band that truly had balls. Until next time!