Magic Whip

Product Information

Offiziellecharts.de – Blur – The Magic Whip" (in German). GfK Entertainment Charts. Retrieved 23 February 2021. Sinclair, Mark (17 March 2015). "The Magic Whip – the making of Blur's new album cover". Creative Review. Archived from the original on 19 April 2015 . Retrieved 3 May 2015. C1. Recorded by [...] at Studio 13 London + Avon Studios Hong Kong, additional recording [...] at the Bunker B2. Recorded by [...] at Studio 13 London + Avon Studios Hong Kong, additional recording [...] at the Bunker

A1. Recorded by [...] at Studio 13 London + Avon Studios Hong Kong, additional recording [...] at the Bunker@Miloco and Assault And Battery II Unterberger, Andrew (28 April 2015). "Blur, 'The Magic Whip' (Parlophone)". Spin . Retrieved 28 April 2015.I like to imagine everyone in Blur was sitting around a room, and after a long silence of watching everyone else coming out with albums, without saying anything, they all stood up, walked in unison to the recording studio in the next room and hit record. They had never turned off their creativity, just left it unplugged for 12 years. D3. Recorded by [...] at Studio 13 London + Avon Studios Hong Kong, additional recording [...] at the Bunker Prevost, Dinorah (13 May 2015). "Review: With 'The Magic Whip' Blur doesn't miss a beat". Tampa Bay Times . Retrieved 16 May 2015.

B1. Recorded by [...] at Studio 13 London + Avon Studios Hong Kong, additional recording [...] at the Bunker Singer-songwriter Damon Albarn invokes Bradbury’s sentiment on "There Are Too Many of Us", the emotional centerpiece of The Magic Whip, the reunion album from his reconstituted flagship Blur, as he muses about an Australian hostage crisis he once spectated on television from a hotel room above it. "For a moment I was dislocated by terror on the loop elsewhere," he admits in verse two—not horrified, just momentarily "dislocated"—as if to call into question our dwindling concern for people in places outside our cubicles of convenience. Technology has made our world smaller, but it hasn’t made us less isolated. Ease of access doesn’t equal closeness. Payne, Chris (2 April 2015). "Join a Magic Line Dancing Crew For Blur's New 'Lonesome Street' Video". Billboard . Retrieved 15 May 2015.Following the commercial and critical success of their third album ‘Parklife’ (more that one in a bit) was always going to be a tough ask. The 1994 release turned Blur into one of the biggest bands of the 90s. Albarn and co were all over the British tabloids, who loved to pit the band against Oasis in the “Battle Of Britpop”, and the pressure was on to convert the try. While many dismiss ‘The Great Escape’ as a poppier 'Parklife Pt.2', the funny storytelling, terrific riffs and catchy tunes are a rather perfect distillation of the band’s sound. Graham Coxon’s guitars have never sounded better, especially when paired with Alex James’ base-line, and the singles ‘Stereotypes’, ‘Charmless Man’ and, of course, ‘Country House’ (the song that lead them to win the charts stand-off against Oasis), all shine. But it’s ‘Mr. Robinson’s Quango’ and ‘The Universal’ which steal the show, proving that Blur weren’t just about enjoyable pop songs. There is a widescreen ambition on show here that proved at the time that Blur were just getting started and weren’t going to live and die with the Britpop movement. Beaumont, Mark (13 April 2015). "Blur – 'The Magic Whip' ". NME. Archived from the original on 5 March 2016 . Retrieved 13 April 2015. Blur from 1997 is a superb album along with MLIR, Parklife and TGE. 13 is a bit muddled as the songs get lost in William Orbits dense production. Sensibilities from Albarn’s extracurricular projects frequently bleed into the frame, especially the Gorillaz, which shows both in dubby, beat-oriented cuts like "New World Towers" and in the lyrics’ pervasive sense of Englishness-in-exile. "Thought I Was a Spaceman" could easily serve as a prequel to Demon Days’ post-apocalyptic opener "Last Living Souls" in sound and story, and "Ghost Ship" wouldn’t look out of place anchored off the shores of Plastic Beach. At times the sonic tug-of-war feels like Albarn clawing at the restrictions of a framework his ideas have outgrown. Monroe, Jazz. "Blur Collage Tons of Fan Movies for 'I Broadcast' Video". Pitchfork . Retrieved 10 October 2015.

A2. Recorded by [...] at Studio 13 London + Avon Studios Hong Kong, additional recording [...] at the Bunker@Miloco a b Thorpe, Vanessa (1 March 2015). "Graham Coxon on the Blur reunion: 'Pop doesn't have to be a fleeting thing' ". The Guardian . Retrieved 11 May 2015.

Tracklist

Zaleski, Annie (28 April 2015). "With The Magic Whip, Blur remains stubbornly iconoclastic". The A.V. Club . Retrieved 28 April 2015. There are two sides to Blur’s sporadic reunions. There are the live shows – Glastonbury in 2009, a trawl around the world’s festivals in 2012, a global arena tour in 2015, an unexpected one-off performance at one of Damon Albarn’s Africa Express events in 2019 – which are reliably rapturously received: a chance, as Graham Coxon recently put it to “revisit all those great songs”, complete with a distinct emotional charge driven by nostalgia and the evidence that the once-fractured relationships within the band have been mended. And then there is the issue of recording and releasing new material. Cover art for Blur’s upcoming album The Ballad of Darren, with an image by Martin Parr. Photograph: - Petridis, Alexis (22 April 2015). "Blur: The Magic Whip – review". The Guardian. London . Retrieved 22 April 2015. Kreps, Daniel. "Watch Blur Go 8-Bit in Zany "Ong Ong" Video". Rolling Stone . Retrieved 10 October 2015.