As with the standouts from the debut album, the best tracks here strike a unique balance between slacker detachment and dance-floor bounce: "Feel Good Inc." swerves through an anxious bassline to a choice De La Soul drive-by, while "DARE" defibrillates Shaun Ryder to shout along while Albarn channels Prince's synths and falsettos. Obviously, this agenda cues me to resort to adjectives like "foreboding," "ominous," and "sinister," but Albarn can't help making his haunted house a discotheque. These new collaborators add more to the proceedings than just increasing the comic-dork factor by about 10, particularly Danger Mouse, whose colorfully dense production helps buoy the occasionally slight genre sketches scripted by Albarn and his fleet of retro keyboards.įor most of the album, Danger Mouse & Albarn make like they're Dario Argento & Goblin, to the point that this Fangoria neophyte can't tell the difference between the sampled zombie-flick scores and the facsimile ones (I'm pretty sure "Last Living Souls" is the former).
In order to keep things fresh, however, Albarn made a few exchanges at the hip-hop Wal-Mart, trading in his sputtering old Dan the Automator model for Danger "as seen on CNN!" Mouse, and swapping out Del tha Funkee Homosapien for MF Doom and. For a project that could easily have been little more than Damon Albarn Remakes "Ghost Town" 15 Times (With More Rapping & Cartoons), this is a follow-up that proves Gorillaz, weirdly, has legs- not that the four-year break hurt any. But also like the debut, Demon Days is better than it has any right to be, featuring singles stronger than anything released under the Blur banner since, you know, that "Woo-hoo" song. Like the Gorillaz's self-titled debut, Demon Days goes the way of most auteur projects, its oversize idea load making for a trip equal parts peak and valley.
Coyly hiding behind Jamie Hewlett's thick-inked pop caricatures and a phalanx of guest stars, Gorillaz allows Albarn to practice self-indulgence under heavy personality camouflage- though never so heavy that there's any question as to who's really pulling the strings. (Did anyone really expect an edgy street-cred Banana Splits to be worth discussing four years into its discography?) Rather than falling flat, Gorillaz have strangely become a therapeutic and clever way for Albarn to subvert the usual egolympics associated with a solo project.
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Then appears the Demon Days song, were it's an amazing finale for the album, telling you that besides all the sadness and crude true, there is hope and light to it, making a "happy ending" for the story.Fortunately, Gorillaz provides Albarn an outlet to vent his taste for sci-fi kitsch, and satiate his urge to break free from rock with guitars- and it's a surprisingly successful outlet, at that. For example, there is one song, Dare, that is very "happy" compared to other work in Demon Days, but that's because fits perfectly the message (improve your self auto esteem, to cheer). But this con is recovered by the union of all the songs, that are like one hour story, telling you about loneliness, hedonism, self esteem, war and so many more negative things that happens in the world. All the first half is full of amazing tunes, and the second, while presenting excellent songs, there are some more "normal" ones. But it's not the unique masterpiece in the album. is the only song all agree it's, at least, cool, and personally I think it's because it is the best song in the album that is so good, that even being weird, almost everyone like it. Their music is not for everyone for being unique and weird, but soon as you enter "inside" the songs, it's a complete masterpiece as good as the self-titled album and Plastic Beach. Their music is not for everyone for being unique and weird, but soon as you enter "inside" the songs, it's a Gorillaz.
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