℗ 2014 Parlophone Records Ltd, a Warner Music Group Company
| Released | September 15, 2014 |
| Duration | 58m 29s |
| Record Label | Parlophone UK |
| Genre | Alternative (Rock) |
Modern Life Is Rubbish
Blur
Available in MQA and 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
|
1.1
|
For Tomorrow
Blur |
4:18 | |||
|
1.2
|
Advert
Blur |
3:43 | |||
|
1.3
|
Colin Zeal
Blur |
3:14 | |||
|
1.4
|
Pressure on Julian
Blur |
3:30 | |||
|
1.5
|
Star Shaped
Blur |
3:25 | |||
|
1.6
|
Blue Jeans
Blur |
3:53 | |||
|
1.7
|
Chemical World (Including 'Intermission')
Blur |
6:29 | |||
|
1.8
|
Sunday Sunday
Blur |
2:37 | |||
|
1.9
|
Oily Water
Blur |
4:59 | |||
|
1.10
|
Miss America
Blur |
5:34 | |||
|
1.11
|
Villa Rosie
Blur |
3:54 | |||
|
1.12
|
Coping
Blur |
3:23 | |||
|
1.13
|
Turn It Up
Blur |
3:21 | |||
|
1.14
|
Resigned (Includes 'Commercial Break')
Blur |
6:09 |
Modern Life Is Rubbish is the second studio album by the English alternative rock band Blur, released in May 1993.
Although their debut album Leisure (1991) had been commercially successful, Blur faced a severe media backlash soon after its release, and fell out of public favour. After the group returned from an unsuccessful tour of the United States, poorly received live performances and the rising popularity of rival band Suede further diminished Blur's status in the UK. Under threat of being dropped by Food Records, for their next album Blur underwent an image makeover championed by frontman Damon Albarn.
The band incorporated influences from traditional British guitar-pop groups such as the Kinks and the Small Faces, and the resulting sound was melodic and lushly produced, featuring brass, woodwind and backing vocalists. Albarn's lyrics on Modern Life Is Rubbish use "poignant humour and Ray Davies characterisation to investigate the dreams, traditions and prejudices of suburban England", according to writer David Cavanagh.
96 kHz / 24-bit PCM – Parlophone UK Studio Masters
Tracks 1-9, 12-14 – contains high-resolution digital transfers of material originating from an analogue master source Tracks 10, 11 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit
Tracks 1-9, 12-14 – contains high-resolution digital transfers of material originating from an analogue master source Tracks 10, 11 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -0.11 -0.30 to 0.00 | -12.54 -15.24 to -11.68 | -9.48 -13.40 to -8.20 | 8 7 to 11 | |
| 1 | For Tomorrow | -0.10 | -11.94 | -9.0 | 8 |
| 2 | Advert | -0.10 | -11.68 | -8.5 | 8 |
| 3 | Colin Zeal | -0.10 | -12.21 | -9.3 | 8 |
| 4 | Pressure on Julian | -0.30 | -12.03 | -9.5 | 8 |
| 5 | Star Shaped | -0.10 | -12.19 | -9.0 | 8 |
| 6 | Blue Jeans | -0.10 | -12.43 | -9.7 | 9 |
| 7 | Chemical World (Including 'Intermission') | -0.10 | -13.48 | -9.6 | 9 |
| 8 | Sunday Sunday | -0.10 | -12.82 | -9.2 | 8 |
| 9 | Oily Water | -0.10 | -11.96 | -8.8 | 8 |
| 10 | Miss America | 0.00 | -15.24 | -13.4 | 11 |
| 11 | Villa Rosie | -0.10 | -12.52 | -9.3 | 8 |
| 12 | Coping | -0.10 | -11.68 | -8.2 | 7 |
| 13 | Turn It Up | -0.10 | -12.12 | -9.1 | 8 |
| 14 | Resigned (Includes 'Commercial Break') | -0.10 | -13.25 | -10.1 | 9 |