Blur were involved in a vibrant social scene in London (dubbed "The Scene That Celebrates Itself" by "Melody Maker") that focused on a weekly club called Syndrome in Oxford Street; the bands that met up were a mix of music styles, some would be labelled shoegazing, while others would go on to be part of Britpop. The dominant musical force of the period was the grunge invasion from the United States, which filled the void left in the indie scene by the Stone Roses' inactivity. Blur, however, took on an Anglocentric aesthetic with their second album "Modern Life Is Rubbish" (1993). Their new approach was inspired by a tour of the United States in the spring of 1992. During the tour, frontman Damon Albarn began to resent American culture and found the need to comment on that culture's influence seeping into Britain. Justine Frischmann, formerly of Suede and leader of Elastica (and at the time in a relationship with Damon Albarn) explained, "Damon and I felt like we were in the thick of it at that point ... it occurred to us that Nirvana were out there, and people were very interested in American music, and there should be some sort of manifesto for the return of Britishness." John Harris wrote in an "NME" article just prior to the release of "Modern Life is Rubbish", "[Blur's] timing has been fortuitously perfect. Why? Because, as with baggies and shoegazers, loud, long-haired Americans have just found themselves condemned to the ignominious corner labeled 'yesterday's thing'". The music press also fixated on what the "NME" had dubbed the New Wave of New Wave, a term applied to the more punk-derivative acts such as Elastica, S*M*A*S*H and These Animal Men.