{"id":13953,"date":"2011-06-02T09:00:00","date_gmt":"2011-06-02T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/beetlebum-blur-2\/"},"modified":"2026-09-27T01:16:45","modified_gmt":"2026-09-26T23:16:45","slug":"beetlebum-blur-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/canciones\/beetlebum-blur-2\/","title":{"rendered":"Beetlebum – Blur: Apertura del hom\u00f3nimo que sale del Britpop"},"content":{"rendered":"

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

Enero 1997: n\u00famero uno UK, salas RADAR de Street, un h\u00e1bito a la vista<\/h3>\n

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

Beetlebum<\/em> abre el quinto \u00e1lbum de Blur con un balanceo mid-tempo pesado: bater\u00eda amortiguada, l\u00edneas de guitarra torcidas de Coxon, voz de Albarn que se desliza entre afecto y vac\u00edo. Publicado como lead single el 20 de enero de 1997, lleg\u00f3 al n\u00famero uno de la UK Singles Chart, el segundo del grupo tras Country House<\/em>. El \u00e1lbum hom\u00f3nimo lleg\u00f3 en febrero, grabado con Stephen Street entre sesiones en Londres y trabajo que se derram\u00f3 hacia Islandia. Tras a\u00f1os de ingl\u00e9s disfrazado y batallas de listas con Oasis, esta era la puerta de salida. La sonrisa se ha ido. Quedan paciencia, espesor y una letra que no gui\u00f1a el ojo.<\/p>\n

Street captur\u00f3 buena parte del disco en discos duros Otari RADAR, lo que permiti\u00f3 a la banda guardar jams y remodelarlos en vez de perseguir un barniz Britpop de una sola toma. Beetlebum<\/em> mantiene una paciencia narc\u00f3tica: el estribillo sube sin sonrisa Britpop, y el vocabulario \u00abshe’s a gun\u00bb \/ \u00abbeetlebum\u00bb apunta al consumo de hero\u00edna del que Albarn hablar\u00eda despu\u00e9s abiertamente en entrevistas. La producci\u00f3n se queda espesa m\u00e1s que brillante. El kit de Rowntree se sienta profundo en la mezcla; el bajo de James se mueve bajo el roce de Coxon en vez de competir. Se oye el peso de la sala antes que cualquier disfraz. Ese era el sentido de dejar el carnaval de Parklife sin anunciar un manifiesto en la portada.<\/p>\n

El v\u00eddeo de Sophie Muller sit\u00faa a los cuatro en una habitaci\u00f3n p\u00e1lida, casi cl\u00ednica, con cortes que siguen la lenta subida de la canci\u00f3n y rechazan el color de carnaval. En la radio el tema no sonaba a nada del carnaval de Parklife<\/em>. Am\u00e9rica a\u00fan necesit\u00f3 Song 2<\/em> para interesarse; Gran Breta\u00f1a puso este primero arriba, lo que dice mucho sobre un p\u00fablico listo para un Blur m\u00e1s oscuro. Vuelve a la secuencia del \u00e1lbum y la apertura sigue fijando las reglas: canciones m\u00e1s cortas, guitarras m\u00e1s sucias, menos ingl\u00e9s disfrazado. Los remasters mantienen el equilibrio de Street; las versiones en directo a menudo estiran el outro sin arreglar el fr\u00edo de la letra.<\/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

And when she lets me slip away \/ She turns me on and all my violence is gone.<\/p>\n<\/blockquote>\n

(Damon Albarn, letra de Beetlebum, Blur, 1997)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb13941″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790418882{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

Beetlebum<\/em> es la postal de esa salida, un n\u00famero uno que se niega a celebrar. Abre un \u00e1lbum que tambi\u00e9n guarda Song 2<\/em>, On Your Own<\/em> y Look Inside America<\/em>, sin comportarse nunca como un lead single escrito para agradar a programadores de radio. El disco hom\u00f3nimo lleg\u00f3 al n\u00famero uno UK; esta apertura dijo a los oyentes qu\u00e9 tipo de n\u00famero uno ser\u00eda.<\/p>\n

Un n\u00famero uno UK sobre hundirse. Esa fue la puerta fuera del mobiliario Britpop. Dale al play por la bater\u00eda amortiguada y las l\u00edneas torcidas de Coxon, qu\u00e9date por el afecto vacante de Albarn, y f\u00edjate cu\u00e1nta poca animaci\u00f3n necesita un \u00e9xito de listas cuando la banda ya ha decidido dejar el perchero de disfraces.<\/p>\n

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En enero de 1997, Blur abre su \u00e1lbum hom\u00f3nimo con Beetlebum: Stephen Street a la producci\u00f3n, un n\u00famero uno UK, y un lead single brumoso sobre un h\u00e1bito disfrazado de canci\u00f3n de amor.<\/p>\n","protected":false},"author":1,"featured_media":13949,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[305,299,245],"tags":[313,408],"class_list":["post-13953","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-canciones","category-criticas","category-sin-categoria","tag-alternative-indie-punk-es","tag-blur-es","post_format-post-format-video"],"yoast_head":"\nBeetlebum - Blur: Apertura del hom\u00f3nimo que sale 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\/canciones\/beetlebum-blur-2\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Beetlebum - 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