Blur – End of a Century Review

Irrespective of the song, Blur has hit upon an all-time great cover art with End of a Century. While the band would never find itself flirting with space-age sounds or sci-fi imagery, the front with its Star Trek-like vehicle, is fascinating. It is so far removed from the twee pop of Blur at the time, the Modern Life is Rubbish and the grounded nature preceding dog tracks and working-class cosplay on Parklife, that it suggests a whole new avenue of sound for the band. A staple of their best-of compilation, a remarkable addition to Parklife and yet a song which broods on morsel-eating bugs and ravages of being flat broke. Blur may be the wrong band to find camaraderie in these tones but they do, and they display a delicate understanding of being down and out.  

Their adaptation of faithful but floundering social lives is heard on End of a Century and while they do not know what comes after, there is a chance to move on from the dry lips and crummy food. Instrumental brilliance is inevitable when Graham Coxon is working hard on these guitar riffs but there is a gluttonous brass sense surrounding it. There is a bravado within which works well, particularly because of how Damon Albarn carries it all with his leading vocal performance. A look into the life of those who are stripping themselves bare and finding influence or hope in the little spots of life. That much is brilliant, but it does feel like a lacklustre and floundering song where the beauty of living overtakes the reality of downtrodden situations. TV-obsessed dirty minds and this need to prepare for a new century. Forget the century, the years ahead are what need to be prepared for.  

Macroscopic commentaries from Albarn are a tad weak here but are backed by such a strong instrumental purpose they and the Justine Frischmann-related lyrics work that much better. It is impossible not to think of Mile End from Pulp as the superior commentary on living in the real world. But it is a credible effort from Blur here, backed by B-Sides Red Necks and Alex’s Song. Coughs and splutters on Red Necks, the caricature of ten-gallon-wearing Texans and truckers around the USA feel like light punches but pair rather poorly when Blur’s biggest criticism at the time of End of a Century was an appropriation of class. It comes to a head here, as fun as it sounds. Pretty minimal, but a decent, indifferent capture of Blur playing around in the studio. 

Where End of a Century picks up, of all places, is Alex’s Song. It sounds relatively pure and free of responsibility. Remove the awful vocal effects and it becomes a rather sweet, tender song. In its current and official state, it is unlistenable. The sort of helium voices which Dick and Dom used on their bungalow show. End of a Century is a bit of a miserable release when considering the lacklustre B-Sides, particularly when Blur could often pride themselves on strength in their deep cuts. Its title track, too, is not relatively great, either, but stands the test of time because it is sandwiched between tracks which still define the band. End of a Century is a grubby track where the purpose is to fit in with bands of the time, and that much is what undoes the good faith heard in this.