When Blur came together again in 2008 for headline acts at Glastonbury and Hyde Park the following summer, it felt like a victorious farewell tour. However, after being persuaded to join the 2012 London Olympic celebrations, they put on another major performance at Hyde Park, during which they remained hesitant about releasing a new album. Although they did sprinkle the reunion with a few standalone singles (‘Fool’s Day’ in 2010 and ‘Under the Westway’ with the B-side ‘The Puritan’), both releases suggested that a significant return to studio albums was unlikely.
Nevertheless, their outlook changed after a scheduled headline performance at the Tokyo Rocks Music Festival was cancelled in 2013 for unspecified reasons. While stuck in Hong Kong for an additional five days, the band utilized the time to record new material at Avon Studios, laying the groundwork for what would eventually be ‘The Magic Whip.’ At the time, Damon Albarn expressed uncertainty regarding the project's future. This feeling of doubt and fragmentation ultimately influenced the character of the album.
With his confidence bolstered since his return to Blur after leaving in 2002, guitarist Graham Coxon took the initiative to revisit the Hong Kong sessions while Albarn toured with his solo project, ‘Everyday Robots,’ in 2014. Collaborating with long-time Blur producer Stephen Street, Coxon secretly invited bassist Alex James and drummer Dave Rowntree to further refine the tracks. Once the music was nearing completion, it was presented to Albarn, who traveled back to Hong Kong for lyrical inspiration. He recorded his vocals just weeks before ‘The Magic Whip’ was unexpectedly announced in February 2015.
The album begins with ‘Lonesome Street’, seeming to disregard previous hits like ‘Beetlebum’, ‘Tender’, and ‘Out Of Time’. It opens with the ambient sounds of city life—while it doesn’t overtly reference Hong Kong, a mention of East Grinstead complicates things—and quickly transitions into a track reminiscent of the ‘Life’ trilogy of albums. It’s filled with swagger and wit, almost too familiar yet still a strong Blur song. However, this is where the album's defining characteristic emerges, as ‘New World Towers’ slows things down with Albarn's yearning vocals complemented by whispered backing harmonies. Atmospheric and introspective, it aligns more with what one would expect from Blur in the 21st century's second decade.
While it might seem an obvious link, ‘Go Out’ heavily borrows from Gorillaz, with Albarn adopting a detached vocal delivery akin to 2-D. Coxon shines on the guitar, effectively providing the chorus, as the tinny drums and disorienting rhythm create an engaging track that thrives on agitated energy. Initially a surprising choice for a comeback single, its brilliance revealed itself over repeated listens. The pace shifts with ‘Ice Cream Man’, which offers a mournful bounce, its sweet melody concealing deeper melancholic themes.
The centerpiece of the album, ‘Thought I Was a Spaceman’, crafts an intimate, cosmic soundscape that gradually transforms into a controlled epic, anchored by a xylophone and layered with electronic textures. By this stage, the album's overarching theme of alienation and disconnection is firmly established.
Then comes ‘I Broadcast’, which abruptly shifts the album's momentum with an indie-pop energy that aligns with its overall texture but feels like something Blur could produce effortlessly. Following this is the deeply sorrowful ‘My Terracotta Heart’, showcasing Albarn’s signature world-music exploration that contrasts with the suggested setting.
The album’s emotional rollercoaster peaks with ‘There Are Too Many of Us’. With militaristic drumming from Rowntree, precise strumming from Coxon, and piercing strings, it addresses themes of immigration and population pressures (“We pose this question to our children, it leads them all to stray”). Its brilliance is found in its measured approach and the gradual payoff when the bass line enters for the second verse. It’s a top-tier Blur song, unlike anything they’ve previously produced.
‘Ghost Ship’ introduces another pivot with a light, Caribbean-inspired rhythm, followed by ‘Pyongyang’, which returns to the album's darker themes. This somber track, reflecting a sense of sadness and evoking the oppressive atmosphere typically associated with the North Korean capital, further emphasizes the album's tone.
Following this, ‘Ong Ong’ marks the album's low point: a parody of Blur's past despite its contemporary lyrics. Bursting with forced positivity (even the ‘la la la’s feel lackluster) and sporting an annoyingly catchy hook, it seems like a product of artificial intelligence. While it might work as a standalone single, it feels jarring sandwiched between two heavier tracks and encapsulates some of the album's challenges. The closing track, ‘Mirrorball’, returns to a place of fragility, echoing ‘Pyongyang’ with its sparse arrangement and
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When Blur came together again in 2008 for headlining shows at Glastonbury and Hyde Park the next summer, it felt like a glorious comeback. Then,