 Lindsay Zoladz 's review of the album ( as part of Blur 21 ) for Pitchfork claimed that " Death of a Party " is the album 's highlight , speculating that it influenced Gorillaz – another musical project which features Albarn as the chief songwriter . Collins claimed that it sounded like Blur 's " second homage " to The Specials ' " Ghost Town " , speculating that the lyrics , " Why did we bother ? / Should 've stayed away " reflected Blur 's recent withdrawal from the public eye despite the song being written years before , and summarised the track as " a genuinely creepy piece . " Sinclair described " Chinese Bombs " as sounding like a " Lower East Side mosh @-@ pit den , " while Zoladz felt that " I 'm Just a Killer for Your Love " was " exquisitely bleary @-@ eyed . " In " Look Inside America " , Albarn recalls the band waking up from a previous night 's show , swigging Pepsi to find the energy to do a local TV show . Hunter called the song a " classic ' 90s road ballad . " The song contains the refrain " Look inside America , she 's all right ; she 's all right , " which was said by Erlewine to " cleverly subvert the traditional Blur song , complete with strings . " Collins described " Strange News From Another Star " as " Blur 's Space Oddity " , stating that the " acoustic guitar , quiet intro , nutty mood @-@ change into a darker passage [ and ] a melancholy report whose central thrust ( " I don 't believe in me " ) [ express ] further doubt from the troubled Albarn . " Originally performed as a poem at the Albert Hall in July 1996 , the studio version of " Essex Dogs " was described by Erlewine as a " six @-@ minute slab of free verse and rattling guitar noise . " Collins revealed that " here it 's set to a starter @-@ motor riff so berserk even its author , Coxon , confesses to find it hard to listen to . " Collins also described it as " a fitting ending ( all eight exploratory minutes of it ) to a challenging , barbed masterwork . " The song is followed by " Interlude " , a hidden track which was described by Collins as " a distressed instrumental sign @-@ oft that goes nowhere . " 
