Gorillaz Album: “Demon Days”

Damon Albarn went to great pains to explain that the first Gorillaz album was a collaboration between him, cartoonist Jamie Hewlett, and producer Dan the Automator, but any sort of pretense to having the virtual pop group seem like a genuine collaborative band was thrown out the window for the group's long-awaited 2005 sequel, Demon Days. Hewlett still provides new animation for Gorillaz -- although the proposed feature-length film has long disappeared -- but Dan the Automator is gone, leaving Albarn as the unquestioned leader of the group. This isn't quite similar to Blur, a genuine band that faltered after Graham Coxon decided he had enough, leaving Damon behind to construct the muddled Think Tank largely on his own. No, Gorillaz were always designed as a collective, featuring many contributors and producers, all shepherded by Albarn, the songwriter, mastermind, and ringleader.

Hiding behind Hewlett's excellent cartoons gave Albarn the freedom to indulge himself, but it also gave him focus since it tied him to a specific concept. Throughout his career, Albarn always was at his best when writing in character -- to the extent that anytime he wrote confessionals in Blur, they sounded stagy -- and Gorillaz not only gave him an ideal platform, it liberated him, giving him the opportunity to try things he couldn't within the increasingly dour confines of Blur. It wasn't just that the cartoon concept made for light music -- on the first Gorillaz album, Damon sounded as if he were having fun for the first time since Parklife.

But 2005 is a much different year than 2001, and if Gorillaz exuded the heady, optimistic, future-forward vibes of the turn of the millennium, Demon Days is as theatrically foreboding as its title, one of the few pop records made since 9/11 that captures the eerie unease of living in the 21st century. Not really a cartoony feel, in other words, but Gorillaz indulged in doom and gloom from their very first single, "Clint Eastwood," so this is not unfamiliar territory, nor is it all that dissimilar from the turgid moodiness of Blur's 2003 Think Tank. But where Albarn seemed simultaneously constrained and adrift on that last Blur album -- attempting to create indie rock, yet unsure how since messiness contradicts his tightly wound artistic impulses -- he's assured and masterful on Demon Days, regaining his flair for grand gestures that served him so well at the height of Britpop, yet tempering his tendency to overreach by keeping the music lean and evocative through his enlistment of electronica maverick Danger Mouse as producer.

Demon Days is unified and purposeful in a way Albarn's music hasn't been since The Great Escape, possessing a cinematic scope and a narrative flow, as the curtain unveils to the ominous, morose "Last Living Souls" and then twists and winds through valleys, detours, and wrong paths -- some light, some teeming with dread -- before ending up at the haltingly hopeful title track. Along the way, cameos float in and out of the slipstream and Albarn relies on several familiar tricks: the Specials are a touchstone, brooding minor key melodies haunt the album, there are some singalong refrains, while a celebrity recites a lyric (this time, it's Dennis Hopper). Instead of sounding like musical crutches, this sounds like an artist who knows his strengths and uses them as an anchor so he can go off and explore new worlds.

Chief among the strengths that Albarn relies upon is his ability to find collaborators who can articulate his ideas clearly and vividly. Danger Mouse, whose Grey Album mash-up of the Beatles and Jay-Z was an underground sensation in 2004, gives this music an elasticity and creeping darkness than infects even such purportedly lighthearted moments as "Feel Good Inc." It's a sense of menace that's reminiscent of prime Happy Mondays, so it shouldn't be a surprise that one of the highlights of Demon Days is Shaun Ryder's cameo on the tight, deceptively catchy "Dare." Over a tightly wound four minutes, "Dare" exploits Ryder's iconic Mancunian thug persona within territory that belongs to the Gorillaz -- its percolating beat not too far removed from "19/2000" -- and that's what makes it a perfect distillation of Demon Days: by letting other musicians take center stage and by sharing credit with Danger Mouse, Damon Albarn has created an allegedly anonymous platform whose genius ultimately and quite clearly belongs to him alone.

All the themes and ideas on this album have antecedents in his previous work, but surrounded by new collaborators, he's able to present them in a fresh, exciting way. And he has created a monster album here -- not just in its size, but in its Frankenstein construction. It not only eclipses the first Gorillaz album, which in itself was a terrific record, but stands alongside the best Blur albums, providing a tonal touchstone for this decade the way Parklife did for the '90s. While it won't launch a phenomenon the way that 1994 classic did -- Albarn is too much a veteran artist for that and the music is too dark and weird -- Demon Days is still one hell of a comeback for Damon Albarn, who seemed perilously close to forever disappearing into his own ego.

Living in South Korea, I was way behind the buzz when the Gorillaz released this second album. I simply saw the title on my Amazon.com recommendations list. I loved their self-titled debut so much that I immediately ordered "Demon Days." I never heard or read one word about the album. I got the CD in the mail, listened to it, and loved it. So, point number one: if you liked the first one, you'll like this one.

What should the rest of you expect? The cartoon side-project that is represented by this group (which is really less of a "group" and more the brain-child of Damon Alburn of Blur) is a heavily experimental affair. Where the first record moved all over the map, toying with new mixes of old sounds, this record has a definite (almost narrative) flow. It starts with "Last Living Souls" in bass-heavy darkness, the music rich and wide with a cavernous feel, a hint of up-swing to the playfully gloomy sound.

"Kids With Guns," "O Green World," and "Dirty Harry," in spite of their playground pop sounds, are all similarly creepy. They play with lilting electronica and prodding rhythms, underlaying these things with an addictive, scabrous disonance.

Then comes the appropriately mislabled "Feel Good Inc.," the first single of the record, and with good reason. Featuring unsettling back-laughter, penitent lyrics, and De La Soul's invigorating voice, this song courts the album's dark mood with a lighthearded step.

That lightheartedness slinks away and hides in the next four tracks (with names like "All Alone" and "Every Planet We Reach Is Dead," that's to be expected). A tapestry of needfulness, lamentation, frustration, and yen-like confusion is woven in songs that are alternately soft and wirey, tender and knuckled. The dreariness is toppped off in "All Alone," which also includes a chorale of hope, leading into the next stellar track, DARE.

Easily the centerpiece of this album, DARE is a futuristic world-hopper, an incredibly fun, amazingly crafted soul-massage. Deep driving buzzes mixed expertly with high, stratospheric hums make for a song that is both playful and dreary, a combination that works, and works well.

Dennis Hopper's spoken-word "Fire Coming Out Of The Monkey's Head" isn't so notable, although it does segue (thematically and musically) into the album's final key notes of redemption. Church choir joy fills up "Don't Get Lost In Heaven," a song that is like the equivalent of a warm, amber dawn after a cool, ghost-plagued night. The next song, "Demon Days," is hardly another song at all, but the second half of the album's send-off into a brighter and happier world.

An inspired musical journey through twilight into day (or, if you prefer, simply a collection of fun, intelligent music), "Demon Days" is a world you'll enjoy visiting.

I remember when I first heard the gorillaz. I was on a school field trip to the roller rink for an end of the year celebration. After eating everything in the place, my friends and I made our way to the rink, rented some crappy rollerskates and made our best effort to not to fall and look dumb or break the rollerskates that were held together by duct tape. Then, the rent-a-dj decided he was done for the day and spun the last track of the night. Low and behold, it was Clint Eastwood. Not only was this what made me love the gorillaz, this is, to the best of my memory, the first rap song i actually liked, as opposed to the mainstream crap i had heard on commercial radio.

That holiday season, I only had one item on my wish list: The gorillaz debut album. For 11th birthday, I received a walkman, and the gorillaz cd. It was all cartoonish, which I thought was cool beyond everything I had ever seen. I popped it into the walkman, and regained the love I felt that night. It was still there.

Two days later, still listening and loving it, I decided to do an internet search on the gorillaz. All the biographies and information archives seemed to indicate that the gorillaz weren't real, but rather a big cartoon reality backed by djs and several guest vocalists, backed by Damon Albarn of Blur. Having my fantasy smashed about going to a concert and meeting the band and getting there autograph, etc, really didnt phase me at all. The concept of a cartoon band only made me love them even more.

So you can imagine my joy when i heard feel good inc, which is possibly one of my all time favorite songs. A new gorillaz cd??? The band that ignited my love for hip hop??? I had to have it. I waited until the release date, bought the special edition, and rushed home, hoping to hear more of the same/similar gorillaz i knew from before.

To make a long story short, thats far from this album. Demon Days is a completely different experience than the first, less happy and more somber. What i loved about the first album was how experimental it was, and how different every song was. Clicking through the songs on demon days, it sounds like they have found their niche and have defined the band they want to be. But in my opinion, they were better when they didnt know. Because they end product is a bunch of unintelligible songs that I have tried so hard to like, but with no avail. With that being said, PLEASE, AUTOMATOR, COME BACK!!!!!!! dont get me wrong, danger mouse is tight, but i dont think hes the right man for the job. Now the grey album, there was a cool cd. The experimental beats and genres were what kept the gorillaz (and the grey album, as long as im on that topic) tight.

But enough with the negative, there were some tracks on this cd that I really liked. Here is a short review

Intro- Some oboe thing or something, I don't really know. Not digging it, this track was pretty boring. Oh well, it's just the intro. Who cares if it sucks? 4/10

Last Living Souls- Starts with some drumming, cues in Albarns off key, low key talk/singing, then comes in some new wave keyboards that steadily grow more upbeat. Kind of obnoxious, but I can listen to it, maybe just out of hope that the song will take a turn for the better. 6/10

Kids with Guns- I dont care what people say, this bass riff is NOT tight. Here come the crappy talk/singing vocals. Takes a slight turn for the better after some guitars come in. Sorry though, still not diggin it. 5/10

O Green World- Mediocre bass riff, with heavy percussion, some bird shrieking or something, then comes in a pretty tight guitar part, with choir like oh's, then distorted vocals from Albarn aka 2D. Pretty good 7/10

Dirty Harry- This was one of the songs I liked a bit more. It starts of with some cool instrumentals, then some vocals which dont add much really, but then a children's choir comes in, which cant help but remind me of the wall by pink floyd. After that, it gets techno with a cool melody. This continues for awhile, then goes into a rap segment by some dude named Bootie Brown, which caught me off guard but I still liked it. 8/10

FEEL GOOD INC- I dont really know what to say about this song, youve all probably heard it before. Tight bass riff enters in with some talkish vocals, which are wearing thin but i can tolerate them. You cant really understand the vocals, and after you learn them and try to sing along it sounds kinda weird. Cool drums, peaceful interval singing about a windmill, then comes the hard hitting rap solo by De La Soul. This is what reminded me of Del's work on Clint Eastwood. This bizarre chemistry they have with opposite genres that fluctuate a lot, it really shouldnt work, and it almost feels like two different songs (other than the bass riff). But it works. Really, really well. Way to go mouse. 11.5/10

El Manana- low key, one of the few songs on this CD that doesnt change styles or vocalists frequently. Really nice vocals from Albarn. Gotta love this one man. Its growing on me. 9/10

Every Planet We Reach is Dead- Hardcore intro with keyboard and synthesizer, I like it so far. It drops the keyboards and syth to give way to some slow, sweet vocals by Albarn. Then, goes back to the keyboard and synth. I like this one too 8.5/10

November Has Come- I like this song, tight rhymes by MF Doom, nice chorus by Albarn. Also, my birthday is in November. 9/10

All Alone- This song is really bizarre. It starts with echo vocals: "All alone, all alone" with some chipmunk like singers. Then, it hits you with some heavy percussion, which gives way to an awesome rap segment by Roots Manuva. Awesome, seriously. 9.5/10

White Light- repetitive, ok bass and drums, then comes with some weird guitar, which really threw me off. My least favorite song by far. Sorry guys, youre getting a 4. 4/10

Dare- This song has a more techno feel, with an 80's style keyboard and vocals with some mediocre vocals. Pretty good, i cant find much bad things to say about it. 7.5/10

Fire Coming out of a Monkey's Head- Storytelling mixed with twangy guitar, with refrains by Albarn that were kind of folksy but awesome. A good addition to the album. 8.5/10

Dont Get Lost in Heaven- this song didnt really fit with the others in my mind, but why not??? nothing really fit together on the debut record, and thats what i loved it for. Soft Piano, with a choir singing in the background. 7/10

Demon Days- Opens with violin, and high pitched woo wooing in the background, then some unintelligible falsetto vocals. Pretty good, didnt really stand out in my mind. 6/10

The bottom line is that this is a good album, worth getting probably. I wouldnt recomend the deluxe edition, because theres not much there other than the feel good inc video and hilarious commentary on it.

Thanks for reading, Malcolm

This CD is really good. I am not an alternative music listener, but i heard the single, "Feels Good" at my company Christmas Party. I really liked the song and had to search for the name and the artist. Once i found that, i went to amazon.com and ordered it. I only thought i would like the song "Feels Good", but it turned out the whole CD is great. Highly recommended.

Previously to buying this album, the only thing I ever heard by Gorillaz was Clint Eastwood way back in the day. So I basically bought this album without any preconceived notions, and damn, it blew me away. This cd eclipses everything else I heard in 2005, although Don't Believe The Truth by Oasis was one hell of a listen too.

With this album, Damon Albarn does something with his musical talent that he hasn't done in a very long time: sum up life in the present tense. Where Damon focused on the working class in Britain on "Parklife" and the white collar upper class on "The Great Escape", this cd reflects the general post-9/11 anxiety of the years just following 2001. It's greatly reflected in the day-for-night tone of the album, and the album title itself.

This is also the most consistant cd that Damon has put out in a long long time. Every track stands out and every songs flows smoothly into the next. These 15 songs fly by, while at the same time, every song grabs your attention. Like the work of Radiohead, these songs will reveal more and more to you about them with each repeated listen. So you'll no doubt find yourself coming back to this cd again and again. Even the simpler songs have moments of sheer depth to them. Halfway through "All Alone" comes one of the most psychedelic and dreamy moments to be heard in modern pop music for a long time. This is just one example of the hidden gems on this disc.

The main recurring and unifying theme of this cd is anxiety and confusion brought on by life in the aftermath of something big (symbolized on this cd in the song "Fire Coming Out Of A Monkey's Head"). Through the noirish darkness of this album, comes hope for a better future and new beginning in the psychedelic title track.

If you don't want deep meaning though and you're looking for just something to listen to, this album is one hell of a ride. Damon Albarn has said that this may be the last Gorillaz album, saying that they can't get much better than this. If so, it is an extremely good note to end on.