They may be approaching decrepit geezerhood in terms of rock years. Their mention may time-stamp anyone as a “‘90s kid.” (That’s lame, right?) But it can be said with absolution and from a totally righteous standpoint that after almost 25 years of being ridiculously musical wankers, Blur remains the badass.

Actually, for a band that has churned out solid Britpop glory for most of its career, including one of the biggest ‘90s radio hits (“Song 2,” known to rock ignoramuses as “Woo-Hoo”), Blur is still a fairly well-kept rock and roll secret – at least if you’re on this side of the vast aqueous barrier that shields North America from all of the drunken Oasis fans.

Whenever I’m at a party or a Queen’s Luncheon and I bring up Blur, I get one of two responses:

a) (Contemptuous smirk) Blur?

or

b) (Slow, solemn nod) Blur…

This usually depends on whether or not I’m talking to one of the aforementioned rock ignoramuses. And it’s because of “Song 2.”

“Song 2” is kind of like Radiohead’s “Creep” (to recap an earlier post, most rock ignoramuses are unaware of any Radiohead material other than “Creep”). It’s not necessarily representative of the band’s catalog, but for whatever reason it is the only blip on most people’s radar where the band is concerned. As a bonus, it’s not really the sharpest song in the shed, so the consensus among rock ignoramuses is that Blur is a shallow, candy-pop one-hit wonder. Thus, there is a sizable divide between those who are aware of Blur’s legacy of badassery and those who blithely deny it.

To remedy some of this ignorance, let me try with this humble post to explain the brilliance of Blur for the benefit of those who weren’t previously aware, or might have even doubted it. (Those drunken, Blur-hating Oasis fans can be pretty confident en masse.) If you are already aware of Blur’s awesomeness, this will simply sharpen your awareness, and maybe send you on a tear listening to all of their albums in your car for a week. It’s a plus either way.

Here are several reasons why Blur is a bastion of stone-hewn coolness:
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First of all, I love indie. I love it like a 15-year-old boy loves Megan Fox, sans anything involving posters on ceilings. So before you get up in my face with loud, defensive, aggravated comments about how great it is — I know, I know. Mellow.

But again like our halter-wearing temptress, there are a lot of seemingly reasonable people who HATE indie. And when you start to talk to these people about their hatred (once they get past the asinine jabs about hipster jeans, beards and technical guitar skills, like those even matter), you start to realize they may actually be on to something. Because even though indie is awesome, it’s only really awesome if it’s done right. And sometimes, you just have to take a loved one by the collar and tell them when they’re not doing something right. Right?

Here are some of the things indie musicians do that piss off people who otherwise have good taste in music. (Subtext: if you hate indie because the only style of music you like is speed metal or radio country, then this list, and my entire blog, will probably mean nothing to you.)

1. Whine a lot more than necessary. Most people understand that songwriting is about expressing emotions, so like-minded listeners can identify when their parents get divorced and they’re shuttled back and forth like a fake ID at a sorority house. But those alleged “genuine” emotions shouldn’t cause stool to run soft in the bowel, and those “genuine” lyrics shouldn’t have to become ironic Facebook status updates. Despite the majority of indie songwriters who express their inner ingénue at an appropriate level, a lot of them tend to dwell on the idea of adult male vulnerability, riding it like the bow of the Titanic until people in the crowd are considering dialing a hotline. The result: indie rock that is backed only by overdramatic 14-year-old girls and moms who are just glad their kid isn’t listening to Insane Clown Posse. And the woe in my heart bleeds like yesterday’s undercooked pot roast.

2. Sing like the deaf. Okay, part of being vulnerable and “real” is not having an overtly superior singing style. No one expects to be empathizing with Bono, or relating on a personal level to Axl Rose. (Yikes.) Still, there are a couple of fundamentals that are just part of singing — like pitch control, and not making the audience laugh out loud. So when the biggest Clap Your Hands Say Yeah single sounds like Joe Assface got up on karaoke night and ran a schoolbus over the solfege scale, it’s tough to hold the contempt in check. It’s even worse when it’s a cover of a song people are already familiar with, like Clem Snide’s abhorrent version of Christina Aguilera’s “Beautiful,” or Ben Gibbard’s cringe-inducing take on Bjork’s “All is Full of Love.” I don’t care how cute his own songs are, taking on Bjork’s most well-heard single with his northern-accented po-boy whimper is like climbing Mount St. Helens in a T-shirt and Converse low-tops. When the tone that comes across is “this didn’t sound like it did in my head, but oh well,” something is probably lost.
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