Gorillaz – Plastic Beach
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Whether Damon Albarn co-created Gorillaz as an escape from the escalating stresses he had endured for more than a decade during his day job as lead vocalist for cockney charmers Blur is still up for debate. What has been undeniably determined however, is hiding behind his animated mob of unruly 2D anarchists has not only provided a reprieve from the usual obligations of fronting a multi platinum pop group but, rather enviably, it has also acted as a gateway for the Whitechapel warbler to work with a never ending list of heavyweight Music luminaries past and present. ‘Plastic Beach’ swells Gorillaz star power ever further enlisting a vat of varied hired hands whilst seemingly attempting to drive home a vital warning of the perils that excessive living will inevitably have on our planet.
The concept of ‘Plastic Beach’ is one of desperation and a resultant change. The accompanying promotional clip to opening single ‘Stylo’ sees virtual villains Murdoc and 2D coasting through a blazing barren desert before being violently run off the road by a gun-toting Bruce Willis. The final images from the graphic display 50% of Gorillaz plummeting deep in to the ocean, their sinking ride submerged in water before it sprouts metallic fins and sails off into the tranquil drink. The album expands on this theme as we discover, for reasons not quite clear, Gorillaz find themselves stranded on a deserted island that largely consists of discarded plastic packaging. Although initially embracing their new found habitat they soon grow weary of the artificial existence they are forced to tolerate and yearn for a return to reality.
Musically ‘Plastic Beach’ is an extremely ambitious effort. Cramming sixteen tracks into fifty seven minutes is a brave move. As a result ‘Plastic Beach’ demands your full attention and repeated listens will reap rewards as a variety of tones, colours, textures and flavours make up this very layered outing. Having cultivated a credible cast starring Snoop Dogg, Mos Def and former Clash cohorts Paul Simonon and Mick Jones, ‘Plastic Beach’ could run the risk of celebrity overload. Thankfully the star studded ensemble are mostly there to simply ‘serve the song’ leaving the Music free of bloated egotism or pointless one-upmanship. Key cuts such as ‘Rhinestone Eyes’ and ‘Empire Ants’ employ a similar shuffling structure to many of Gorillaz previous standards whilst ‘Superfast Jellyfish’ floats hysterically upon a childlike chant provided by former Super Furry Animal Gruff Rhys, begging it’s listener to acquiesce to the idyllic imagery of living free spiritedly.
Underground British grimers Bashy and Kano pop up on ‘White Flag’, one of the album’s true highlights which combines a hard edged freestyle spit with gorgeous string arrangement courtesy of the National Orchestra for Arabic Music. Albarn’s dickensian drawl has been noticeably reigned in and recurring collaborators De La Soul return to inject their usual funk inspired theatrics. As the record wears on however, you find the mind wandering at the prospect of too many reflective tracks such as ‘Broken’ and ‘To Binge’, a pair of generic keyboard led ditties that limp slowly on, stunting the growth of what could otherwise be a truly classic long player. The Lou Reed assisted ‘Some Kind of Nature’ equally fails to deliver, proving to be nothing more than a poor imitation of the dynamic Dennis Hopper pairing ‘Fire Coming out of the Monkey’s Head’ from 2005′s excellent ‘Demon Days’. It’s at these moments that you realise ‘Plastic Beach’ represents Gorillaz first album constituting anything resembling filler perhaps the result of self production and not having a Danger mouse or Dan the Automator to edit the wide array of ideas and themes.
Co-founder and ‘Tank Girl’ creator Jamie Hewlett continues to impress with his askew animation, adorning the visual aspect of the album with cutting edge japanese inspired imprints and off-kilter sketches proving his contribution is just as valued as his Musical counterparts.
Adventurous, ornate and whimsical. ‘Plastic Beach’ although sketchy in places is an album truly befitting the cartoonish creatures that make up it’s presentation.
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