Blur - 13 (1999)

Much was made of Blur's foray into US alt slackerism. While many viewed it as a contrived attempt to become the British Pavement, it nonetheless pushed Colchester's finest into mainstream American consciousness. This was an achievement that 'Parklife', their biggest selling album, never quite managed. 13 continues on the same thread deployed by their eponymous album and offers an enjoyably eclectic listen. It's yank leanings are obvious with titles like 'Trailerpark' adding to the American feel. There are mountain top highs every few songs but the weaker tracks veer far too close to the murky waters of the canyon below. There is an off-kilter lounge music backdrop to a lot of the album, thanks in no small part to producer William Orbit.

‘13’ opens with the gospel tinged 'Tender'. It could have been so terrible but luckily there is an appreciation of the form that makes it sound like Blur are old hands at this type of thing. When 'Tender' was unleashed it sounded unlike anything Blur had ever released. It highlighted a maturing Albarn looking beyond the obvious and enabling Blur to expand on their repertoire. Of course as is customary on any Blur LP there are suitably gifted pop epics like 'Coffee and TV'. Graham Coxon takes over on vocal duties and carries the whole thing off with distinction. 'Coffee and TV' came complete with an adorable video and is a feel good trip that never seems to outlast its welcome. It's the sort of tune Blur (or Coxon on his own for that matter) could probably write in their sleep but often decide to take the scenic route instead. That’s why Blur give us the punk racket that is 'B.L.U.R.E.M.I.' and everyone squeals for track 3.

'Battle' is a little pretentious but that goes with the territory and anyway when something is this delightful it hardly seems to matter. 'Battle' swings gracefully on Albarn's murmurings and the neatest of keyboard shuffles. ' Trimm Tramm' is an understated gem that isn't that obvious at first but slides into your mind like an advert you can’t remember seeing. 'Bugman' is more straight laced, resembling a whacked out 'Song 2' played through an electric jigsaw. At regular intervals on Blur doodle about a bit too much and the results can sometimes resemble a spaghetti dish without the bolognese. Like on ‘1992’, which is too long and shatteringly boring. Elsewhere this unstructured approach is more successful like on 'Caramel' with its colourful montage of sounds where nothing is obvious except the crude guitar flashes. 'Mellow Song' is as near to quaint as you’re likely to get and includes a blissed out last minute that is intoxicating.

The album finishes up with the Blackpool pier carousel 'Optigan 1' that Damon is wont to trying from time to time. Check out the soundtrack to the 'Ravenous' movie for more of the same. On the whole ‘13’ is a more than satisfactory listen but unfortunately Albarn's experimentation falls flat on its face occasionally. So to wrap up, ‘13’ eclipses the lacklustre 'The Great Escape' but comes up way short of the majesty of 'Modern Life is Rubbish' or 'Parklife'. A sort of Blurry 'Kid A' then!

Rating: 6/10

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