{"id":13305,"date":"2014-12-30T13:00:00","date_gmt":"2014-12-30T12:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=13305"},"modified":"2026-09-27T00:00:05","modified_gmt":"2026-09-26T22:00:05","slug":"modern-life-is-rubbish-blur","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/modern-life-is-rubbish-blur\/","title":{"rendered":"Modern Life Is Rubbish – S\u00e1tira de Essex tras una gira US dura"},"content":{"rendered":"

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Food Records, tras una gira US dura<\/h3>\n

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En mayo de 1993, Blur public\u00f3 Modern Life Is Rubbish<\/em> en Food Records tras una dura gira americana y un sello que casi enterr\u00f3 las cintas. Damon Albarn, Graham Coxon, Alex James y Dave Rowntree volvieron de EE. UU. hartos de que les preguntaran de qu\u00e9 parte de Manchester eran. La respuesta era Colchester y Londres. El disco convierte esa irritaci\u00f3n en pop de guitarras, ropa Mod, melod\u00edas de music hall y letras sobre centros comerciales, peri\u00f3dicos del domingo y lluvia.<\/p>\n

Las sesiones van de finales de 1991 a principios de 1993. El trabajo con Andy Partridge en The Church se atasca. Stephen Street, ya presente en There’s No Other Way<\/em>, toma la producci\u00f3n con el ingeniero John Smith. Street cont\u00f3 que la banda necesitaba los per diems del estudio para comer. Dave Balfe, jefe de Food, oy\u00f3 una versi\u00f3n temprana y habl\u00f3 de suicidio comercial. Albarn respondi\u00f3 escribiendo For Tomorrow<\/em> en casa de sus padres en Colchester el d\u00eda de Navidad, y luego Chemical World<\/em> para calmar al sello americano SBK, que quer\u00eda a Butch Vig. Blur rechaz\u00f3 el remake con Vig.<\/p>\n

For Tomorrow<\/em> abre con arpegios limpios de Coxon y un arreglo de cuerdas que suena a paseo bajo la lluvia hasta Primrose Hill. Julien Temple rod\u00f3 el v\u00eddeo all\u00ed, banda en Fred Perry y Doc Martens. Chemical World<\/em> aprieta m\u00e1s, riff seco, voz de Albarn entre burla y estribillo. Sunday Sunday<\/em> se inclina al bounce de music hall; Advert<\/em> y Pressure on Julian<\/em> siguen el cuaderno social. Las guitarras quedan claras y secas; la bater\u00eda suena a club m\u00e1s que a estadio.<\/p>\n

La portada, locomotora al estilo Mallard y t\u00edtulo en amarillo, asume un branding British Image. La foto de prensa con un mast\u00edn y \u00abBritish Image 1\u00bb detr\u00e1s del grupo encendi\u00f3 una pol\u00e9mica sobre nacionalismo; Blur respondi\u00f3 con una foto de tea party camp llamada \u00abBritish Image 2\u00bb. La m\u00fasica no es una marcha de banderas. Es observaci\u00f3n: trenes, anuncios, comedia de clase y la resaca tras Madchester.<\/p>\n

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\n

Este \u00e1lbum ha tocado un nervio. Y si aguantamos, y hacemos el pr\u00f3ximo \u00e1lbum de miedo, funcionar\u00e1.<\/p>\n<\/blockquote>\n

(Stephen Street, recordando Reading 1993, Uncut)<\/em><\/p>\n

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Comercialmente el disco lleg\u00f3 al n.\u00ba 15 en el Reino Unido. Modesto frente a lo que vino despu\u00e9s, pero suficiente para que EMI mantuviera la paciencia. En Reading 1993, en la carpa de Melody Maker, el p\u00fablico ya cantaba las canciones nuevas. Parklife llegar\u00eda un a\u00f1o despu\u00e9s y convertir\u00eda la misma mirada inglesa en dominio de listas; sin Modern Life Is Rubbish<\/em>, ese salto no tiene pista de despegue.<\/p>\n

Al escucharlo hoy se oye la plantilla: leads angulares de Coxon, voces-personaje de Albarn, bajo mel\u00f3dico de James, kits n\u00edtidos de Rowntree. La etiqueta Britpop lleg\u00f3 despu\u00e9s, desde la prensa. En este \u00e1lbum la banda simplemente decidi\u00f3 sonar inglesa otra vez tras un desv\u00edo americano que casi los termin\u00f3.<\/p>\n

Los singles tras For Tomorrow<\/em> mantuvieron la campa\u00f1a sin convertir el \u00e1lbum en f\u00e1brica de hits. Chemical World<\/em> y Sunday Sunday<\/em> entraron ambos en el Top 30 UK y dieron a la radio una cara m\u00e1s dura y otra m\u00e1s ligera del mismo giro ingl\u00e9s. Las partes de Coxon siguen ocupadas sin exceso de estadio: bends, arm\u00f3nicos y ritmos secos que los guitarristas Britpop posteriores copiar\u00edan con menos ingenio.<\/p>\n

Modern Life Is Rubbish<\/em> sigue siendo la bisagra. No el mayor vendedor, no el set de headliner, sino el momento en que Blur dej\u00f3 de perseguir Seattle y empez\u00f3 a mapear el suburbio londinense con guitarras afiladas y chistes a\u00fan m\u00e1s afilados. La basura de la vida moderna, en sus manos, se volvi\u00f3 un m\u00e9todo de trabajo.<\/p>\n

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En mayo de 1993, Blur public\u00f3 Modern Life Is Rubbish en Food Records tras una dura gira americana y un sello que casi enterr\u00f3 las cintas.<\/p>\n","protected":false},"author":1,"featured_media":13299,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[300,299],"tags":[313,408],"class_list":["post-13305","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":"\nModern Life Is Rubbish - S\u00e1tira de Essex tras una gira US dura - 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\/modern-life-is-rubbish-blur\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Modern Life Is Rubbish - 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