The gospel-filled opener 'Tender' bares Damon's emotions all too clearly, seducing you into their ever-growing wide musical spectrum. Graham Coxon's love of guitar distortion and experimentalism is apparent throughout the album giving it an edge like no other album that decade. 'Coffee and TV' (sung by Coxon), reaffirms your belief that Blur write the best melodic pop/rock songs today. '1992' includes typical Blur chord changes but as ever alters almost unrecognisably to an intriguing psychedilic/grunge format unlike anything else heard before.

'B.L.U.R.E.M.I' is the only song not worthy of being included as it unnecessarily re-introduces the 'Song 2', 'Chinese Burns' elements from their previous album 'Blur', but every song following it is near perfect emotional experimentalism.

'Battle', (with vocal styles reminiscent of underrated Welsh band Super Furry Animals that Damon is known to be a fan of) draws you in encompassing trip-hop, post-punk and grunge over such a sensitive backing that you can not understand how it works so well.

'Mellow Song' begins with Damon moving back to his acoustic roots while allowing his love for the dreamy organ sound not heard since thier debut album 'Leisure'.

'Trailerpark' allows Graham Coxon to show his underappreciated brilliance of lead guitar journeys and the drumming of Dave Rowntree throughout the album should not be underestimated. 'Caramel' is possibly the song of the album balancing mysery, pain, beauty and hurt in equal measures leaving you feel as close to music as is possible.

'Trimm Trabb' changes the mood once again with lyrics expressing how Damon ended up resigned to the fact the his relationship with Justine was over. Coxon excels on guitar once again and perhaps this song best represents the album and the adventurous production of William Orbit.

'No distance left to run' is pure beauty (Justine admitted that she cried through it the first time she heard it). It sees Damon lay all his feelings out on the table one last time.

'Optigan 1' cleverly ends the album and seems to sum up all the emotion that came before it using another of Damon's pet instruments.

In an era when commercialism and conformity is encouraged in music, it is good to know that a band can still surprise and delight. Remember to listen to all of Blur's albums starting with 'leisure' and then you realise how diverse they are.


Vast improvement over "Blur"   December 10, 2002
5 out of 5 found this review helpful

Of their two post-Britpop albums, their self-titled fifth album is looked upon as a near-classic, while this one is seen as a step too far. From this chair, I can't see why. I personally find "Blur" too disjointed with too many weak spots (although I'll qualify that- it is Blur, which of course makes it awesome anyway). This album, however, goes all out with a personal honesty previously unseen in their work. In fact, I think it was this album that really rendered the whole Blur-Oasis pissing contest useless, since Blur was clearly the superior band. I think the problem a lot of people have is that it takes about 15-20 listens to really see beyond the production, but it's a beautiful sight once you do.

"Tender"- One of their most successful singles, and rightfully so. The gospel feel shows how well they can diversify.

"Bugman"- Fuzz-rock that hears them rocking out and lets Graham finally get the recognition as one of the great guitarists of the '90s.

"Coffee and TV"- The easy pop song of the album, but saved by the organ solo at the end.

"Swamp Song"- Stupid, really the only weak spot on the album.

"1992"- The first true breakup song on the album. Graham's freakout guitar solo at the end is classic.

"BLUREMI"- Damon singing through a vocorder about the record industry (odd given the generally good relationship the band and label have). Decent but nothing to write home about.

"Battle"- Space-rock that would not have sounded out of place in the late 1960s or early 1970s, before prog-rock got too weighty for its own good.

"Mellow Song"- Decent, not good or bad.

"Trailerpark"- The song that most sharply divides opinions on this album, sounding closer to Trip-Hop than anything else they've done. I personally love it.

"Caramel"- A song which shows Damon in pure depressed mode, another of his most honest works. Good.

"Trimm Trabb"- They were able to make "That's just the way it is" into a profound statement, and the musicianship is impeccable. Maybe the best on the album.

"No Distance Left To Run"- The single about the breakup. Graham's guitar work, as always, accentuates the sad mood.

"Optigan 1"- A decent, if forgettable instrumental.

While there are undoubtedly highlights with individual songs, this is best listened to when you can absorb the album as a whole, and you will not be disappointed.


Outstanding   March 17, 1999
5 out of 5 found this review helpful

After the experimental and moody atmosphere of 'Blur', I was expecting something more upbeat, more vibrant. What I got was a challenging, intriguing album that made me sit back and re-appraise my opinion of Blur. I should know better than to expect the expected from them! From the opening strains of the hauntingly beautiful 'Tender', through to the traditionally circus-like 'Optigan 1', '13' is a feast of ingenuity, a breath of fresh air that may well seperate the true fans from the glory-seekers. 'Coffee + TV' is a delicate offering with Graham on lead vocals, perhaps challenging Damon for the vocal crown of Blur. 'Swamp Song' is a searing, Bowie-esque adventure. 'Trailerpark', notorious for its Southpark connections, is wonderfully dark and different. 'Trimm Trabb' is probably one of the album's most recognisably familiar sounds - simple yet effective, with Blur stamped all over it. 'No Distance Left To Run' is deeply evocative, a tear-jerkingly, achingly heartfelt song that gently persuades even the most hard-hearted individual to concede that yes, Blur are actually quite good. Whilst I have picked out my favourite tracks to mention specially, 'Bugman', '1992', 'B.L.U.R.E.M.I.', 'Battle', 'Mellow Song' and 'Caramel' are equally fresh. Electrical sounds, weird noises and just plain bizarre departures from routine are what mark this album out as being produced by someone other than Stephen Street (William Orbit, in fact). I expected to fall in love with '13' immediately upon hearing it, but it has actually crept up behind me and knocked me senseless with its originality and diversity, leaving me dazedly wondering how on earth Blur are ever going to better this in future.