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Through some reinvention, Blur reclaimed their position as an art pop band in the late '90s by incorporating indie rock and lo-fi influences, which finally gave them their elusive American success in 1997. But the band's legacy remained in Britain, where they helped revitalize guitar pop by skillfully updating the country's pop traditions. In January 2010, No Distance Left to Run, a documentary about the band, was released in cinemas and a month later on DVD. The same month, their 1994 album Parklife was one of ten classic album covers from British artists commemorated on a UK postage stamp issued by the Royal Mail; the collection was unveiled by Led Zeppelin guitarist Jimmy Page.

By submitting my information, I agree to receive personalized updates and marketing messages about blur based on my information, interests, activities, website visits and device data and in accordance with the Privacy Policy. To learn more, check out the documentation on Responsive Design, Dark Mode and other media query modifiers. Your body becomes blurred, shifting and wavering to all who can see you. For the Duration, any creature has disadvantage on Attack rolls against you. An attacker is immune to this Effect if it doesn't rely on sight, as with Blindsight, or can see through illusions, as with Truesight. To cause imperfection of vision in; to dim; to darken.1819, Joseph Rodman Drake, The Culprit FayHis eyes are blurred with the lightning's glare.

The Great Escape, which Albarn told the public was the last instalment in the band's Life Trilogy, was released in September 1995 to ecstatic reviews. Entering the UK charts at number one, the album sold nearly half a million copies in its first month of sale. However, opinion quickly changed and Blur found themselves largely out of favour with the media once again. Following the worldwide success of Oasis' (What's the Story) Morning Glory?

Think Tank was yet another UK number one and reached number 56 in the United States. The band did a successful tour in 2003, with former Verve guitarist Simon Tong filling in for Coxon. Although he had previously dismissed it, Albarn grew to appreciate Coxon's tastes in lo-fi and underground music, and recognised the need to significantly change Blur's musical direction once again. "I can sit at my piano and write brilliant observational pop songs all day long but you've got to move on", he said. He subsequently approached Street, and argued for a more stripped-down sound on the band's next record. Coxon, recognising his own personal need to—as Rowntree put it—"work this band", wrote a letter to Albarn, describing his desire for their music "to scare people again".

Coxon later pointed to Parklife as the moment when " went from being regarded as an alternative, left field arty band to this amazing new pop sensation". The band's third single, "Bang", performed relatively disappointingly, reaching only number 24. Andy Ross and Food owner David Balfe were convinced Blur's best course of action was to continue drawing influence from the Madchester genre. Blur attempted to expand their musical sound, but the recording of the group's debut album was hindered by Albarn having to write his lyrics in the studio. Although the resulting album Leisure peaked at number seven on the UK Albums Chart, it received mixed reviews, and according to journalist John Harris, "could not shake off the odour of anti-climax".

The album's lead single, the gospel-based "Tender", opened at the second spot on the charts. After "Coffee & TV", the first Blur single to feature Coxon on lead vocals, only reached number 11 in the UK, manager Chris Morrison demanded a chart re-run because of what he deemed was a sales miscalculation. The album's first single, the disco-influenced "Girls & Boys", found favour on BBC Radio 1 and peaked at number 5 on the UK Singles Chart, and number 59 in the US Billboard Hot 100 where it remains the band's highest-charting single. Parklife entered the British charts at number one and stayed on the album charts for 90 weeks. Enthusiastically greeted by the music press—the NME called it "a Great Pop Record ... bigger, bolder, narkier and funnier "—Parklife is regarded as one of Britpop's defining records. Blur won four awards at the 1995 Brit Awards, including Best Band and Best Album for Parklife.

Albarn's lyrics—more heart-felt, personal and intimate than on previous occasions—were reflective of his break-up with Elastica frontwoman Justine Frischmann, his partner of eight years. While Q called it "a dense, fascinating, idiosyncratic and accomplished art rock album", the NME felt it was inconsistent and " a quarter-of-an-hour too long". 13 debuted at the top of the UK charts, staying at that position for two weeks.

The announcement of the album's release included a press photo which featured Blur, dressed in a mix of mod and skinhead attire, posing alongside a mastiff with the words "British Image 1" spraypainted behind them. At the time, such imagery was viewed as nationalistic and racially insensitive by the British music press; to quieten concerns, Blur released the "British Image 2" photo, which was "a camp restaging of a pre-war aristocratic tea party". Modern Life Is Rubbish peaked at number 15 on the British charts, but failed to break into the US Billboard 200, selling only 19,000 copies there. XTC's Andy Partridge was originally slated to produce Modern Life Is Rubbish, but the relationship between Blur and Partridge quickly soured, so Street was again brought in to produce the band.

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In April, the band announced that a box-set entitled Blur 21—containing all seven Blur studio albums, four discs of unreleased rarities and three DVDs—would be released in July. Blur had also entered the studio early that year to record material for a new album, but in May producer William Orbit told the NME that Albarn had halted recording. Blur's official Twitter and Facebook pages announced that the band would release two singles "The Puritan" and "Under the Westway" on 2 July. That August, Blur headlined a show at Hyde Park for the 2012 Summer Olympics closing ceremony.