Word: oasisã
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...what you’re saying: your claim of high-mindedness. I’m not sure exactly what you mean by that, but there’s no way that you can possibly believe that Blur’s art-pop pedigree schtick is less high-minded than Oasis??s “tough guys with a sneer” schtick...
...tradition that Blur subverts in their music and artwork: their albums are sketches of British life, celebrating all of it, from Prozac-popping country house dwellers to rudely awakened pigeon-feeders, and for all of life’s pleasantry and dark side. This all runs conceptual loops around Oasis??s retreads of pieces about love, and it all occurs under a penumbra of sonic innovation—the range of styles the band touches on is incredible, incorporating the best parts of guitar-pop, two-tone ska, and the early shoegazing sound that characterized their debut, Leisure...
...strongly, seeming to pick up where The Fat of the Land left off. “Spitfire,” the album’s opening track, is a blood-pumping electronic anthem that plays like the aural equivalent of a shot of adrenaline to the heart. Much like Oasis??s “Fucking in the Bushes,” there’s simply no sitting still while listening to this song. Sadly, however, the remaining twelve tracks come nowhere near to living up to this high standard. The second track “Girls?...
Into TCTC’s sonic hearth go Pink Floyd’s manic magnificence, Radiohead’s electronic imagination and Oasis?? lyrical sensibility. The album reaches full force at the moments where these elements combine most finely; “A.I.M.” (not related to our favorite electronic pastime) begins with a coarse industrial beat, develops with Yorke-like, dreamy lyrics and peaks with a driving, distortion-saturated chorus and sweet lyric hook. “Promises, Promises” expands from a straight-ahead power riff, introducing altered chords and electronic ambience...