When Blur was battling it out for Brit pop supremacy with Oasis in the 1990’s I don’t think anyone could have imagined the genius talent that lead singer of Blur, Damon Albarn, possessed. Since his Britpop glory days Albarn has ventured into rock, Mandarin operas, the Mali project and world music in general. However, he completely redefined the term ‘side project’ when he embarked upon his animated four-piece hip-hop orientated band of Gorillaz. Their 2002 eponymous debut, as great as it was, served merely to test the waters before releasing their monster in 2005, Demon Days.
The international success of this album is a product of the shared genius of Albarn and the creative vision of producer, Danger Mouse who amid the dexterous conjunctions of styles and tempos somehow seems to posses the awesome ability to mould everything into one cohesive package so that nothing feels out of place. Flitting between every known genre and a bizarre selection of individuals including Neneh Cherry, Dennis Hopper, Martina Topley-Bird, MF Doom, Shawn Ryder, the London Community Gospel Choir and Ike Turner; this should be a complete shambles. Fortunately it is the complete opposite.
Lyrically, it is no revelation, in fact the lyrics are rendered inaudible on many tracks, yet the journey we are taken on is flawless. Expect to find mid 90’s trip hop performed on a Casio keyboard, Brian Wilsonesque inspired piano’s accompanied to string ensembles, followed by gospel infused reggae. All, of which, is featured around minor chords creating a rather melancholy feel to the whole project.
The album opens with ‘Intro’, which is from Dawn of the Dead, sirens beckon and a forlorn bassoon suggests entry into a haunted house. This ghostly opener leads nicely into ‘Last Living Souls’ which fuses Albarn’s deadpan vocals against crisp beats and retro synths. 'Kids with Guns' follows with the genius addition of Neneh Cherry’s Salt N Pepa’s ‘Push it real’ line. It is an unsettling yet amazing tune which ends in a post-rock sonic climax. ‘O Green World’ and ‘Dirty Harry’ continue in the low-fi theme of simple percussion and bass overlaid with synths. The former offers some post funk brilliance whilst the later offers some rap-Arabian inspired electronic piece. ‘Feel Good Inc.’ is seen as the highlight of the album with its amazing hook-laden chorus, snoozy vocals, and upbeat acoustic guitar. It is the best song Del La Soul never made! ‘El Manana’ brings back the sirens and treats us to one amazing song! ‘Every Plant We Reach is Dead’ elevates the pop song into stratospheric levels whereas ‘November Has Come’ creates a new genre of Folk-Hop with MF Doom interchanging with Albarn to stunning effect. ‘All Alone’ stars Roots Manuva before we are led to ‘White Light’ which meshes punk rock guitars with hip-hop drums. It doesn’t really work in my opinion as well as everything else on this album. ‘Dare’ is a great club hit with Shawn Ryder providing amazing vocals! ‘Fire Coming Out of the Monkey’s Head’ Albarn flirting with a country chorus but it is the addition of Dennis Hopper’s monologue which makes it work. ‘Don’t Get Lost in Heaven’ is surely inspired by Brian Wilson before we end with ‘Demon Days’. Although not the most memorable song on the album, it is a fitting end to one of the best albums of all time. Here at number 9 is Gorillaz with ‘Demon Days’
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