{"id":10661,"date":"2018-10-19T13:00:00","date_gmt":"2018-10-19T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/blur-blur-2\/"},"modified":"2026-09-26T22:59:06","modified_gmt":"2026-09-26T20:59:06","slug":"blur-blur-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/blur-blur-2\/","title":{"rendered":"Blur – La puerta de salida del Britpop"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

De Mayfair a Reikiavik, el Britpop atr\u00e1s<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

En febrero de 1997, Blur<\/em> lleg\u00f3 como una banda pateando su propia salida del Britpop. La sonrisa Parklife se hab\u00eda ido. En su lugar: grit lo-fi, voltaje alternativo americano y una detonaci\u00f3n de dos minutos llamada \u00abSong 2\u00bb, nacida como broma y convertida en grito planetario. Grabado entre los Mayfair Studios de Londres y la larga oscuridad islandesa de Reykjav\u00edk, el quinto \u00e1lbum hom\u00f3nimo sonaba como cuatro m\u00fasicos rechazando el traje que hab\u00edan ayudado a inventar.<\/p>\n

Stephen Street produjo junto a la banda, grabando en discos duros Otari RADAR que convert\u00edan las jam sessions en arquitectura. El loop de bater\u00eda inicial de \u00abSong 2\u00bb sali\u00f3 de micros de sala sobre dos kits, Dave Rowntree y Graham Coxon golpeando un patr\u00f3n que Street bucle\u00f3 para que el grupo explotara encima. \u00abBeetlebum\u00bb abri\u00f3 el disco con una gravedad m\u00e1s densa y brumosa. \u00abOn Your Own\u00bb y \u00abM.O.R.\u00bb ampliaron la paleta, mientras \u00abYou’re So Great\u00bb, Coxon solo al micro, parec\u00eda una carta dejada sobre la mesa. Varias voces se terminaron en la casa islandesa de Albarn, donde la luz invernal llega tarde y la escritura no tiene d\u00f3nde esconderse.<\/p>\n

Lo que sostiene Blur<\/em> es la ruptura con oficio. Las canciones son m\u00e1s cortas, m\u00e1s sucias, m\u00e1s dispuestas a dejar un moret\u00f3n. Bordes art-rock rozan la abrasi\u00f3n indie. La banda que antes catalogaba la vida inglesa parec\u00eda querer escapar del cat\u00e1logo sin abandonar la melod\u00eda. Esa tensi\u00f3n es el nervio del \u00e1lbum.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

\n

Nunca se pens\u00f3 como single, solo un poco de diversi\u00f3n. La tecnolog\u00eda nos dej\u00f3 grabar de otra manera, y claro que dio un disco con un sonido muy distinto a los tres anteriores.<\/p>\n<\/blockquote>\n

(Stephen Street, sobre Song 2 y las sesiones RADAR)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb13951″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790424771{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

Food Records public\u00f3 el \u00e1lbum el 10 de febrero de 1997. Am\u00e9rica por fin se inclin\u00f3. Los estadios aprendieron el woo-hoo. Aun as\u00ed, los rincones m\u00e1s quietos, \u00abDeath of a Party\u00bb, \u00abStrange News from Another Star\u00bb, \u00abEssex Dogs\u00bb con su ADN de jam editada, son donde el disco guarda su clima privado. El Britpop ya se deshilachaba; Blur<\/em> no lo llor\u00f3. Cambi\u00f3 de ropa a mitad de frase y sigui\u00f3 caminando.<\/p>\n

Su\u00e9nalo otra vez y las salas siguen concretas: fluorescentes de Mayfair, sesiones en Reykjav\u00edk, dos bater\u00edas, un loop que se convirti\u00f3 en \u00abSong 2\u00bb. Blur no borr\u00f3 el Britpop; archiv\u00f3 la Inglaterra de dibujo de Parklife y dej\u00f3 que la guitarra de Graham Coxon liderara. El \u00abwoo-hoo\u00bb era un chiste que la radio tom\u00f3 en serio. El \u00e1lbum sigue sonando a una banda que cambia de herramientas a mitad de carrera.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

En febrero de 1997, el \u00e1lbum hom\u00f3nimo de Blur pate\u00f3 una salida del Britpop hacia el volumen indie americano.<\/p>\n","protected":false},"author":1,"featured_media":10657,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[300,299],"tags":[313,408],"class_list":["post-10661","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albumes","category-criticas","tag-alternative-indie-punk-es","tag-blur-es"],"yoast_head":"\nBlur - La puerta de salida del Britpop - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/blur-blur-2\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Blur - La puerta de salida del Britpop - 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