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The band that won the battle but (apparently) lost the war against Oasis are often regarded as quintessentially English, following in the footsteps of the Kinks, the Who, the Jam and the Smiths, their spiky songs all kitchen sink drama and Estuary English. Yet the Blur boys have rarely stuck with this, or any other formula, for any length of time, their constant stylistic changes garnering praise for a willingness to experiment as often as drawing accusations of opportunistic bandwagon jumping.

Debut Leisure in 1991 was certainly a cynical attempt to ride the coat-tails of Manchester's baggy scene. And in retrospect the geezerishness of Modern Life Is Rubbish and even its superior successors Parklife and The Great Escape is a little contrived given the band's middle class roots, even if British life itself is the target of ire in many of the songs.

Likewise, it's hard not to suspect Damon Albarn and his cohorts of trying to cash in on the American indie rock scene with 1997's self-titled album, though looking beyond college jock anthem Song 2, it's clear both Albarn and malcontent guitarist Graham Coxon are both pushing in new and interesting directions.

13 is even more impressively daring, though by this point Coxon's low-fi fascinations and drinking pushed the band to breaking point. Think Tank in 2003 saw Blur firing on all cylinders as a trio, Coxon having left to pursue a solo career. The band then had 6 years out before the summer of 2009 saw the original foursome reunite for a series of festival headlining slots, the release of Midlife: A Beginner's Guide To Blur and a possible full-blown reunion with new material to follow.