Parklife

Definitely Maybe better than Oasis

А мне этот альбом не очень нравится

I know the main critique of this project is the sheer volume of britpop, but I definitely enjoyed this more than the previous album I had by them (the one with Song2, which is a classic and justified that album's inclusion in my opinion).

half mid half solid 6/10 best song - london loves

They really are pretty British.

On first listen 2/5, but after another listen its aight. Not 1001 before I die but good

On of only a handful of albums ever made to pass the Dunderhead Test - a coherent whole which demands to be listened to from start to finish. Of course all the stuff that make blur infuriating are here - mockney vocals, smug knowingness and the constant nagging feeling that the pop musicians think they are more than pop musicians - but the sheer perfection of the tunes on here are seldom bettered…

British rock

Fun 90’s British pop rock

It's Blur. It is what it is, it's okay.

mega gutes album von blur es gefällt mir mega gut

It was fine. 6 Tired of the heavy British influence on this list.

Fun album, the singles difer vastly from the rest of the songs, but everything ties up very well. Amazing production and songwriting.

ok

OK. Didn't grab me.

Clever alt-rock/pop record about British suburban life in the mid-90s. There are funny digs to culture, people, and practices in Britain/Europe, as well a closer track that also pokes fun at American culture and how it took ahold of UK life for a short while.

Ok

Pretty solid

Well, at least it’s better than “Modern Life Is Rubbish” in that the songs are more concise. But this should really come with a disclaimer saying, “We’re not interested in being taken seriously as a band. We are only interested in being cute“.

Bangers and mash

There are no perfect Blur records to me. Always great tracks on them though. Ahead of a century, what a tune! Girls and boys, parklife are also great. I’d give it a solid 4. I grew up loving blue more than Oasis but I think the tables have turned in my older age.

The album was overall okay, but not amazing. Yes, I had listened to the first song before but I can't say that I am a huge fan of these songs, although "Song 2" is pretty alright but that's from another album. It's okay when I leave it playing in the background though.

Have some of you guys considered going out and feeding the pigeons, perhaps even feeding the sparrows too? It'd give you a sense of enormous well-being...

SOLID 90s album. Has moments that are mediocre, but this was an absolute gem.

Good pop songs

Sound: Eclectic, nostalgic (strong Kinks influence) Lyrics: Observational, character-driven Highs: "Tracy Jacks," "End of a Century," "This Is a Low" Lows: "Girls & Boys" is the only track I actively dislike, but there's some filler

I haven't listened to this for years, and amazed that it is now over 30 years old. Brought back memories of the Britpop days, and whilst I did enjoy hearing it again I do wonder what all the fuss was about; along with Definitely Maybe there was a lot of hype. So it's good without being a true classic.

Very solid album, I think I sleep on Blur a bit.

Still sounds so good.

Very very very good, this is the kind of album I love. Kinda like The Smiths and David Bowie with a little modern hyperpop feel, idk. I really liked it so much 5//5 would listen again

Expected to enjoy. But felt like a long annoying album

Not bad

I certainly wasn't expecting two Blur albums to make this list. But I guess if Captain Beefheart is here, anyone can make it. I like Blur, and actually knew a few of these songs before listening today. Plus Greyhounds on cover.

Pretty cool.

Blur is an incredibly boring band.

About as low as a three can get

'sok!!! i'm not a huge fan

damon albarn has my freaking number i stg

Fine

This album kind of sucks sorry

Clever cockney bastards. A solid album, with clever licks, on-point lyrics and entertaining filler.

5/10 - too long but some good tunes

There are a couple of good songs on here, but a lot of this album just isn't a great listen. The highs are decent, but there's too much here that I don't really enjoy.

Despite Damon's mockney affectations, the first half of this is pretty much flawless - the absolute pinnacle of 90s britpop. Trails off a little in the second half but finishes strong. At least 5 or 6 brilliant tracks and some of the best guitar work of it's type - Graham is clearly the hero of the era. Umming an ahhing over the 4/5 boundary until Magic America, which seals the 4 - still, great work that stands up 30 years later.

I had hoped it was better than it was. Still pretty good but not my favorite Britpop.

Brits

Bon mais pas aussi bon que vanté

El documento definitorio del Britpop noventero que ha envejecido bien como una radiografía sociológica incisiva, ingeniosa y llena de vitalidad melódica. En el plano de diseño formal, la producción de Stephen Street articula un abanico estilístico sumamente heterogéneo que, si bien suena un poco disperso al saltar abruptamente del pulso de club y el punk de garaje a la balada orquestal y viñetas de feria, logra dar claridad instrumental a cada viñeta sin perder la fibra eléctrica de la banda. La interpretación del cuarteto desborda una fuerza y calidez que transmiten una innegable autenticidad, otorgándole a Blur una autoridad superior dentro de la escena internacional al capturar las contradicciones de su tiempo con precisión de orfebre. Piezas como la ironía danzante de "Girls & Boys", el humor callejero de "Parklife", el desencanto íntimo de "End of a Century" y la sobrecogedora belleza melancólica de "This Is a Low" dan forma a un documento conmovedor, crudo y real que opera como un sutil llamado a la conciencia sobre el tedio cotidiano, la alienación del ocio de masas y la fragilidad emocional oculta tras la máscara del sarcasmo. Su vitalidad rítmica y sus contrastes dinámicos dotan a la obra de una gran versatilidad para múltiples usos, destacando como un acompañamiento vigoroso para el ejercicio, la conducción despierta o para activar la mente en el trabajo creativo.

The singer's thick drunken-English accent takes centre stage here. Apart from a few key tracks, and a couple of underwhelming stinkers, most of the 16-track setlist is pretty good but nothing more. Girls & Boys is a complete mess vocally, but everything else about it screams polished pop-punk. Which, to be clear, is a good thing. I especially love the bass part. The melody, though inarguably annoying, also proves entertaining. Lyric shoutout: "Girls who are boys / Who like boys to be girls / Who do boys like they're girls / Who do girls like they're boys". Tracy Jacks does noticeably better with its melodymaking. I like the falsetto "woo-oo-oo-oo"s, and the guitar and bass tones. And the whole thing feels very complete, with nods all over the place to pop, punk, rock, new wave, glam (Bowiesque glam), and so on. In End of a Century, it's a little difficult to focus on anything other than Albarn's thick English accent. At least the instrumental part at the end is shockingly great and easily makes up for Albarn's past crimes. The title track does well at dosing listeners with a ton of back-to-back hooks and tidbits of sonic interest, with varying degrees of success. My favourite part has got to be the simple yet headstrong chord progression. Oh, and the bicycle bells. (I think that's what those are.) Bank Holiday is quintessential "it's punk so I should break music conventions even if doing so makes the song sound objectively worse". That missing half beat might not seem like much but it throws off the entire bar each time it appears. Fortunately, the excellent drumming and basswork make up for it. Badhead is a return to relative normalcy and sports a lovely soft rock sound (à la Eagles). The gentle guitar sound gets a big thumbs up from me. While I'm tempted to give The Debt Collector a failing grade, it honestly works well in the context of the album, and that goofy brass-based waltz would be one of the star tracks on most of the hip-hop entries on Dimery's list. Far Out, though, is just severely underwhelming compared to all the other tracks, not to mention forgettable. The only real miss so far. To the End has strings. Nuff said. It also manages to be the very rare carnival-sounding track that genuinely is one of the best on the record. (Mr Kite, on Sgt. Pepper's, also has that distinction.) Plenty of light whimsical synths, and brazen boops and binky bonks, in London Loves. Fun, but not quite highlight-status. The singer isn't trying at all in Trouble in the Message Centre, but at least there's beep boop. And la-la backing vocals, I suppose. Clover Over Dover might be one of the goofiest track names on this list outside of Beefheart/Zappa releases. The song itself is pretty fun but nothing super special. Magic America, though? A slightly confusing melody and vocal delivery, but everything else is pretty dang solid. Especially that chorus. (La-a, la la la la.) Though Jubilee sort of just repeats the same chorus hook ad nauseam for almost three minutes, it's a pretty strong hook, and the brass gives the song a nice edge. This Is a Low, with its crazed bendy guitars and finale-like atmosphere, is a late-album high point (ironic, ha-ha, etc.). Lot 105 isn't. 3/5 Key tracks: Tracy Jacks, Parklife, To the End, This Is a Low

Definitely wasn’t expecting this to be so good. Something was telling me this would be a basic Brit pop album with not a lot going on. I was pleasantly proven wrong, this album has an excellent blend of somewhat psychedelic and silly instrumentals but keeping the raw Brit pop feel. Everything fits together nicely making a fun listening experience. Parklife feels like it sums up the British experience in an album. Almost every song is memorable and tells a story that most British people can relate to. The musicianship is great especially the bass playing. The mix feels huge and you can easily get immersed in the music. The album cover ties everything together and makes me think of a grimy council estate with the sickly colouring and loose dogs. The album is definitely targeted towards that kind of audience. It’s extremely difficult to choose a favourite song because they’re all excellent. Standout tracks though are definitely Girls and Boys, Tracy Jacks, London Loves, Magic America and Jubilee. Girls and Boys is a song that makes you want to get up, dance and sing along. It’s such a groovy tune and the bassline is funky as hell which I didn’t expect even though I have heard the song many times. Magic America feels like a very sarcastic take on how the English view America with the lyrics being about shopping malls and giant buildings and junk food. Jubilee looks at the life of a lazy teenager that does nothing all day which is the reality for lots especially today, almost everybody probably knows someone like this. The meanings behind the songs hold up well in today’s world which makes the album still feel fresh adding more to the immersion of the album. This is definitely the best Brit pop album I have heard as of yet.

While I do complain about the excessive amount of britpop/rock albums I have gotten so far on this list and the lack of albums in other languages or for different countries, this does have some kinda fun songs and it sounds well. It is still not memorable outside a couple ones for me to must listen before I die to get on the 4-5 star rating

Ah this is why the Gallagher bros hate Blur, not that I hated it but I can see Liam drunkenly cursing at the radio at these “fuhkin’ silly cunts”. I liked the other Blur entry quite a bit more as it leaned more Sonic Youth than this too cool for school pop. I usually give credit for joy taking yourself too seriously but this just seems like they’re trying too hard to not try hard.

4.0 catchy bunch of songs,

Some good tracks but also some weird noises

Achei agradável do início ao fim, e tem algo de único no estilo deles. Muito mais artístico e interessante de conhecer do que muito dos álbuns dessa lista, então vai 4.

it was cool when they all shouted out PARKLIFE though i imagine that wouldnt be taken well in a public british park

ну вроде норм, а вроде и не зацепило, есть и позвонче песни у них.

Honestly most of these attempts to be charming and quirky came off as grating to me

An enjoyable run through some British punk!

It's the 6th form common room, March 1994, and the indie kids are huddled round a Walkman, straining to hear the previous evening's taped Evening Session from some bent back headphones, when the penny drops. "They've Gone F****g Disco!" Us indie kids weren't ready. We loved "Modern Life Is Rubbish", we wanted the Sugary Tea tour on loop, and, in the words of "Blue Jeans", we wanted them to "stay this way for ever". But sadly our heroes were restless - the indie disco was no longer enough for Blur. They wanted real nightclubs, real dancing, and real money. The shoegazers and the baggy chancers were always giving it "there had always been a dance element to our music" but this was different. This wasn't just dance music, it was POP music - and it wasn't just ours anymore. It was too good. Too commercial. Too confident. It turned out that confidence was a preference after all: Blur (pushed on by Food records) had decided they were going to be massive, had written the songs to back it up, and sure enough, Girls and Boys went to number 5, and the bigtime arrived: the Radio One breakfast show, advert billboards, Mile End, Brit Awards, TFI Friday, Tabloids, CD clubs advertising "Parklife" on the back of the Radio Times for the next five years. They definitely weren't ours anymore. Musically, the signs had been there all along, and Blur had already shown more range than most - they'd already navigated from shoegaze to noise-rock to baggy to music hall to pub singalong, but no-one expected Blur to make Sgt Pepper for the 90s. But Parklife was that good, and more than 30 years later, it still just about works. Like Sgt Pepper, the expanded musical pallette allowed them to use the medium as the message - a song about 18-30 holidays could be delivered as eurodisco; a song about the great British park could actually sound like a ranting tramp at a bandstand singalong; a song about a doomed love affair could be soundtracked with film noir strings. Somehow, Stephen Street managed to keep it coherent and focused - the band's influences were all over the place at that point, and they're often very overt: Pink Floyd on "Far Out", Talking Heads on "London Loves", music hall skits and lift music and god knows what. The b-sides were even more nuts - they had a reasonable crack at a modern jazz parody on "Beard" (sadly relegated to the b-side of Parklife), and the very best b-side of them all: Magpie: a jangle-guitar setting of William Blake's "A Poison Tree" ("I was angry with my friend I told my wrath, my wrath did end"), taken from 1794's Songs of Experience, which had previously been set to music by Ralph Vaughan Williams in 1958, and by Benjamin Britten in 1965. Something tells me Streety wasn't getting this sort of thing with Jesus Jones. Alongside Damon's musical poncery, unlike "The Great Escape", it does sound like Graham is still having fun at this point - his crunchy new wave interjections ensuring that "Girls and Boys" wasn't pure disco cheese, and the gorgeous Marr-esque countermelody in "Clover Over Dover" which help make it one of the melancholic highlights. Lyrically, "Clover Over Dover" is like a less lyrical "Shakespeare's Sister", and, given Blur's Who obsession, I've always wondered if this was the tongue-tied song of Jimmy, at the end of Quadrophenia, in which the mod dream plummets over the white cliffs (which would make it Phil Daniels' second appearance on the album!). It also resonates with the maritime malaise of the other standout ballad - the peerless "This Is A Low". Having introduced us to Jim and Susan a couple of years previously in "For Tomorrow", Damon brings in characters, everywhere: Jubilee, Tracy Jacks, Bill Barrett - they're all fun, but when compared to their 60s forebears - Lola, "Arnold Layne", Tommy, and even the dedicated follower of fashion - they do feel a bit contrived. Damon's newfound reliance on third person perspectives could be partly due to Parklife's spiritual origins in Martin Amis' 1989 novel "London Fields", which Damon read while on tour in the US in 1992, and which is woven throughout the album. Sometimes it's explicit (the voice of Keith Talent pondering "the mystery of a speeding car" in "London Loves"), sometimes thematic (the park as cultural melting pot in "Parklife", the pub as a shop window for those 'on the game' in "Bank Holiday", the exotic femme fatale in "To The End", not to mention the dog track on the album cover), and possibly structural, too: a single work from multiple related perspectives, an unreliable narrator popping in and out of the action. It's a weakness in "London Fields", but in "Parklife" it adds to the album's kaleidoscopic appeal. But Parklife is definitely flawed. There are a lot of "LAH LAH LAAHH"s on this record, and the mockney stuff (particularly in "Bank Holiday") sounds naff, 30 years on. Amis gets away with it in "London Fields" because it's well observed - in Parklife it just feels like panto. I liked both "Jubilee" and "Trouble In The Message Centre" at the time, but in retrospect they sound weak - fine as shambolic indie tunes by Seymour - but under the studio polish they don't shine. Magic America hasn't dated well - a cartoonish characterization of America bourne of their disastrous 1992 tour, which is not as poetic as either of their other songs responding to US cultural hegemony: 1993's reflective "Miss America" and 1997's "Look Inside America", by which time they've decided that "she's alright" after all. Sonically, it's mastered to be very compressed and radio-friend, but there is some light and shade to break up the texture. If I'm being picky, some of the string and brass arrangements do sound a bit cheap: at the time Blur were 60 grand in debt to EMI, following disappointing sales for "Modern Life Is Rubbish", so the fake strings on "To The End" are more of a pale cultural signifier, rather than the Hollywood string arrangements the song deserves (and which would follow as the money started to roll in). Finally, Parklife exemplfies a lot of people's objection to Blur, which is that Albarn's dilettantism - which would lead to Mali Music, Gorillaz, Dr Dee, supergroups with Tony Allen with the blokes from Verve and the Clash, Africa Express, Operas about Chinese Monkeys, austere solo albums wanging on about Iceland - indicates his fundamental insincerity. Whilst there may be some truth in that, it seems to me that he is a driven and curious egomaniac who cannot stop exploring, and making, music, even if it's not perfect. He can be a total dickhead, but without him, this era-defining record would not have been conceived, let alone made. Even if it did kill "indie". The Jubilee-era sixth formers (slouching back on the settee), lost something that day. But the world gained something special.

- I still find the mockneyness pretty grating, and a lot of the cultural references feel like what they are, namely middle class art school boys trying to portray ordinary British life, and it doesn’t quite ring true in parts and grates - ⁠that said, it is a brilliant album - ⁠it’s a bit like Abbey Road. A brilliant second side, in which the individual songs themselves are not necessarily that strong but they work beautifully together as a sequence - ⁠Building up to This is a low as a brilliant finish

This was a rather easy album to put on, as a big fan of Blur's singles and their 13 album. This was (I assume) well into the britpop era, when people wasted time turning the Oasis vs Blur into a big thing. Look, they're both great, but inferior to Pulp and Suede! So, being a britpop album, it is a very consciously british album. I definitely hear kinks/beatles inspiration from this. As a whole, it is quite mixed, but there are many excellent bangers as well as dull tracks. I'm well familiar with the big hits on the album, as well as a few other strong tracks. So, this was partly new, partly familiar for me. Amongst the silly off-hand songs, there a good few serious, genuinely emotional songs chucked in. This is a low (new discovery - pretty good), To the end and End of a Century. This feels more like a stepping stone in blur's discography, rather than the end finished product. Tracks 1-4 are guranteed fun. Quality dips, but Badhead was a nice new find for me. Quality then improves from track 9, 'To the end' onwards where it is a varying mix of cool and boring songs. Because the quality songs are so good, and there are so many of them, this deserves a 4 imo. Maybe generous, but songs like Girls and Boys will forever be fun bangers.

The third and final blur album I am to get on this site. My second favorite on the site too, after the excellent Modern Life Is Rubbish, and before the very annoying self-titled. But is this any good? Well. There’s some good, but not much to my opinion. This is the moment where Blur begins to branch out from just being a pretty awesome Britpop band to being a pretty annoying experimental Britpop band. Don’t get me wrong, they produce some satisfying tunes in this period, such as the iconic “Girls & Boys,” the concretely catchy “Tracy Jacks,” or the jangly, pretty “Badhead.” Sadly, once these songs have run their course there stands a period of the album where they make some forays into other genres: punk, waltzy theatre, what have you. It stands as something very interesting, all tied together by the Britishness of it all, but it’s just not super appealing to me. Don’t get me wrong! I like Blur a lot. For the past 20 days straight I’ve had nonstop communication with a huge blur fan, and has become one of my closer friends. Under her influence I’ve come to adore Modern Life is Rubbish, and the band’s masterpiece, 13. That being said, there exists a disconnect between us concerning this album and the self-titled project. This album isn’t bad, it isn’t good. I can stand it. 6.4/10 DOES IT BELONG ON THE LIST: sure REASON: significance

Overall: 8/10 Stellar stuff. I've always been a big fan of Blur, they're probably my favourite band that was a part of the britpop era. I actually prefer other albums of theirs to this but there's some classics on here. Fav Song: Girls & Boys

I can't believe how many excellent songs are in this album. Truly amazing.

Very mixed and much weirder than I anticipated when I bought it.

Ive never delved into blur’s discography but I knew it would be fun. This whole album is so playful and so very British. Britain owes blur money, the way they all made being British cool and fun again. Like Japan has anime as reparations for their war crimes and Britain has blur. (Honestly the British are very lucky they have given us so many talented musicians…) The lyrics are simple but Damon’s voice is so perfect for each song. Theres so much life in this album…also the guitar playing throughout this album is insane too. My favs have to be ‘parklife’, ‘bank holiday’, ‘London loves’ and ‘to the end’…and just to be greedy ‘jubilee’ too

I really like some songs, to most of them I am mostly indifferent. I tried listening to this album before because I really like some of the songs but I can’t really fully get into it

Ah, what many consider the ultimate Britpop album. Does that mean I get to move on to other genres now? 700 records in and sometimes this list feels like 900 Britpop And 101 Other Random Albums To Hear Before You Die. Growing up in the US Blur wasn't ever really very popular. At least not where I lived. Everyone loved Song 2 but I don't think I even really listened to Blur at all until I was an adult. The whole Blur/Oasis debate is pretty funny because it's not like either band is some luminary, once in a generation group. Just look at this list for proof of that. This album is fine, but it really just fades into the background after a while. It is interesting to a point but I feel like there isn't anything that really grabs me and makes me want to listen to it louder. Maybe I just need to give it another shot but I've kind of felt that with all the Blur records I've heard. Or maybe it's because there are so many albums that sound exactly like this and I'm not super familiar with any of them. 3/5

The ying to oasis’s yang

Honestly surprised, didn't think I would like this one this much.

LOVE IT

Girls & boys es un masterpiece el resto no las conocia algunas canciones me dan unos vibes malcom in the middle otras muy deprimentes. De 52 min me quedo con 8min max

Some questionable songs But there's some really good songs on there

aaaaaaaaaaaaaaa

Ca va un peu bizarre

Between this and house music, I think the Brits have a lot of explaining to do about the 90s.

Blur still feel like an adaptation of the music that I liked in the 90s, finished with production worthy of the Beach Boys, with a thick British accent on it. Definitely recognize it as good music. Girls & Boys is super clever and catchy and sharp, and I really enjoy the bouncing rock or Jubilee and the pretty melodies of This Is a Low. But I react to it the way I do most of Pet Sounds: too dense and full of the production layers. It feels planned, designed, genericized. That's kinda harsh for a pretty good album, but there you have it. Set next to an album like "London Calling," another album that mixes up styles and sources and is loaded with ambition and which I happened to have been served just before this, it feels like a bloodless studio creation in comparison with the Clash sounding like a band in the studio sounding great. "Lot 105" feels like it's agreeing with my assessment and laughing at me for being pranked anyway. 2.5/5. Nope, don't know what it's doing on a greatest of all time list.

A solid Britpop offering. Reminds me of the Clash (but not quite as punky), and Oasis (but not quite as iconic). Maybe it will grow on me? 6/10

Pretty good. Shoegaze gets old

I didn't have any context into what I was going to get with this album, but got another sense that it was experimental. Yes, the majority of it felt punkish or alternative, similar to some early Blink, but then there were unique tunes such as Jubilee, that used unique instruments. I think it was an interesting listen, and glad I did, but wouldn't do it again I think. Album Rank: 3.4 Favorite Song: Parklife

Ma lose, nisam posluso do kraja.

Very synth 80s and super British.

Best album I’ve listened to in a while. Def top 15 all time. Reminded me of N <3

I liked this well enough, but there are other Blur tracks I prefer that are not on this album. Good background music, but nothing spectacular.

Top album, top cover

Had echt een aantal nummertjes korter gekund, maar dit is gewoon een erg leuk britpop album. Ik ben er verder niet rouwig om dat Albarn meer energie is gaan steken in Gorillaz, Blur is misschien wat consistenter maar Gorillaz is zo veel boeiender wanneer het hit.

Decent

Some really catchy songs. The more theatrical vocals are less my thing.

truly obnoxious vocals. some of the arranging is interesting in a comedic sort of way, and occasionally it's actually decent, but most of it is banal.

I like Blur

- GIRLS AND BOYS!!!! - yes yes now these are bangers - ALL THE PEOPLE !! SO MANY PEOPLE!! - how could this guy do all this and then make gorillaz and almost pretend blur never happened - after the first bangers it gets mid - oasis is better

I’ve never been to England but this is how I picture English people in my head. If it’s about taking sides, I’m more Blur than Oasis, and this album is one of the reasons why. Don’t hate me, Champaign supernova, live forever, don’t go away are fantastic songs, but I see Blur more album-oriented. These guys evolved in time. Oasis was born big and flew too close to the sun not noticing how their wax wings melted…

Has some songs I really like (end of a century, bad head, etc) but just ok for me, I don’t return to their full albums a lot, not my favorite British band of this era

Meh. I really only ever heard Song #2 from Blur which is a much heavier song then anything on this album. This very much had more melodic and slower songs then Song #2. It was very much more a pop album then a rock album. While good, just not as good as what I expected.

Another Britpop album I can take or leave overall but had a few dazzling moments. I really loved the first track in particular

Absolute classic of its era and no swaggering about , aping the Beatles

Still prefer Oasis but this has some good stuff on it. Probably never really gave it as much time as I should have when it came out. However it still feels like the difference between this and the really great albums is that some of the filler tracks here don’t do that much and are much easier to skip.

I hated Blur long before the faux rivalry with Oasis. There are so many bands of that time that are just better. I believe over the course of their career they have some decent songs and here there are one or two, but overall it is a mess and bordering on a novelty album.

I’ve always been rather on the fence with this album. I do like Blur, and all their albums have something to offer. This one definitely feels more whimsical (very much in the British 60s Kinks esque vibe) and poppy. Far Out seems like an attempt to ape Syd Barrett. The ‘quality’ to me is more on the anthemic slower songs To the End and This is a Low. Otherwise it just feels somewhat lightweight and disposable, albeit fun, compared to albums. That said, it’s an enjoyable listen and I’ll happily do so again.