mcheadcase's Full Review: Demon Days [PA] by Gorillaz
Ever since their debut in 2001, Gorillaz have been getting worldwide mainstream recognition. What drew up intrest in fans was not just their music, but the fact that they were animated … literally. Gorillaz is a multimedia project created by singer/songwriter/multi-instrumentalist Damon Albarn and comic strip artist Jamie Hewlett. In March of 2001, they came out with their self-titled debut album, trying their hand at blending music into a dark pop substance. With guest appearances from Cibo Matto vocalist Miho Hatori and legendary underground rapper Del Tha Funkee Homosapien, and production done entirely by Del’s partner Dan the Automator, the album is a unique tour de force that combines rock, pop, and Hip-Hop to create one hell of an album. After some time and a few minor releases, including a decent album full of B-sides (“G-Sides”) and a crappy remix album with the Space Monkeys (“Latika Come Home”), Gorillaz have finally returned with their sophomore effort, “Demon Days”. This time, there have been some notable changes. For one, Dan the Automator is out and Danger Mouse is in (he's the DJ behind the Jay-Z/Beatles remix album “The Grey Album”). Also, there are no raps from Del, but now we have a wide variety of emcees. But the main difference is that we do NOT get more of the same material we heard on their debut. The vibe, sound, and overall feel the first album have not carried over to "Demon Days". It’s all changed. Albarn had warned us that “Demon Days” would be much darker than its predecessor, and he couldn’t be more right. But how does the album as a whole compare to the first one? Let’s find out, shall we?....
1. Intro (NOT RATED)
2. Last Living Souls (4 ½ Stars)
3. Kids With Guns (5 Stars)
4. O Green World (4 ½ Stars)
5. Dirty Harry feat. Bootie Brown of Pharcyde (5 Stars)
6. Feel Good Inc. feat. De La Soul (5 Stars)
7. El Mañana (4 Stars)
8. Every Plant We Reach Is Dead (5 Stars)
9. November Has Come feat. MF Doom (5 Stars)
10. All Alone feat. Roots Manuva and Martina Topley-Bird (5 Stars)
11. White Light (3 ½ Stars)
12. DARE feat. Shaun Ryder (5 Stars)
13. Fire Coming Out Of the Monkey's Head feat. Dennis Hopper (5 Stars)
14. Don't Get Lost in Heaven (5 Stars)
15. Demon Days (5 Stars)
After a very creepy sounding intro, which features various George Romero samples, we get into the first song, “Last Living Souls”. Danger Mouse’s production will be the first thing you’ll notice; the track uses a peculiar drum machine, some heavy guitars, and various horns and bleeps, making it sound almost techno. On the vocal side of things, Albarn evokes his normal droll vocal work, as he continuously asks “Are we the last living souls?”. Not the best track on the album, but definitely a great kick off. We then delve into the first real classic of the album, “Kids With Guns”. The track begins with a tick-tock drum refrain and a relaxing bass line, which leads into Albarn’s droll vocals. Lyrically, Albarn gives us socially aware description of a violent children’s revolution, but manages not to sound too obvious about it and beat us over the head with the topic he’s chosen. Later, the track breaks into a funky jam session, where the melody becomes more important. Gorillaz give us another classic, once again making a grooving track using Albarn’s deadpan delivery. By this point, you’ll probably realize whether or not you’ll enjoy this album.
Next we have “O Green World”, a concept-heavy track driven by a lot of humming, which basically goes on for the entire track. Backed by creepy sounding synths, a heavy drum kick, and the humming I mentioned earlier, Albarn’s droning vocals are over-distorted, giving it a scary atmosphere; it kinda sounds like it was taken from a Hitchcock flick. At first it may sound overproduced, but it’s really just an intricate track that demands your full attention and an open mind. Gorillaz then continue their fascination with the actor Clint Eastwood by naming the next track after one of his characters. “Dirty Harry” is probably the simplest track on Demon Days, but it’s still one of the best. The track is backed by an old-school beat composed of synths and hand claps, a definite throwback to the days of Grandmaster Flash. Albarn comes in with his trademark falsetto vocals but is overpowered by the San Fernandez Youth Chorus, singing about their appreciation of dance. Near towards the end of the track, we get a rap solo from Pharcyde member Bootie Brown. His political verse is a simple, accurate portrayal of a soldier-- a soldier who realizes that this war going on now isn't worth fighting: “I'm thunder with lightning fast reflexes / on constant alert from the constant hurt / that seems limitless with no dropping pressure / seems like everybody's out to test ya / 'til they see your brake, they can't conceal the hate that consumes you / I'm the reason why you fill up your Isuzu”. The only thing that really bothers me is his sloppy flow, which sounds all over the place. Fortunately, that’s the only thing bad about this one.
All I can really say is thank God they made “Feel Good Inc.” the album’s first single. Here we have a fast-paced Hip-Hop beat, which includes one of the best damn bass lines I’ve ever heard, period. The track starts with a verse sung by Albarn, and then moves into a very catchy chorus that puts the overplayed chorus from “Clint Eastwood” to shame: “Windmill, windmill for the land / turn forever hand in hand / take it all there on your stride / It is ticking, fallin' down / love forever love is free / let's turn forever you and me / windmill, windmill for the land / Is everybody in?”. Did I mention the chorus is accompanied by Albarn’s trippy acoustic guitar playing? Well it is. Featured on this track is legendary rap group De La Soul, giving us a rap interlude and some ominous demonic laughter. “November Has Come” is another Hip-Hop collaboration, this time featuring underground buzz rapper MF Doom. This one has Doom spitting his battle lyrics over a simple beat backed by Albarn’s guitar playing. Following this is “All Alone”, which features vocals from UK emcee Roots Manuva. The production contains a mix of 8-bit blips, a coursing jungle beat, and a Chipmunk-esque refrain. This is my first time hearing Manuva, and I gotta say his rhythmic, style-over-content approach compliments Danger Mouse’s production very well.
“Every Planet We Reach is Dead” is a track that would’ve stuck out like a sore thumb on their debut. The pedaled-out guitar, the smooth piano playing, courtesy of Ike Turner, and the doo-wop vocal support make this particular song inarguably soulful. “DARE”, which is slated to be the album’s second single, is a joint that is definitely for the clubs. Featuring some falsetto vocals from Albarn and a danceable synthesized beat, we have a track with a deceptively old-school House feel. The album’s finale is a mini-rock opera, two songs that could very easily be one, “Don’t Get Lost in Heaven” and “Demon Days”. “Heaven” begins with a distant piano/guitar combination that sounds like the introduction to a dream sequence. The light Beach Boy-esque melodies are contrasted with such dark, cutting lyrics like “Don't get lost in heaven / they got locks on the gate”. The aforementioned lyric sample is part of the chorus that is sung by The London Community Gospel Choir, sounding a bit more like a massive doo-wop group than a choral arrangement. “Demon Days” stays in the same key, but uses orchestral strings and eerie vocalizations to accompany the slowed down tune. As a heavy guitar riff begins, the Gospel Choir returns to sing a piece describing a time where the world is in peril: “In these demon days, it's too cold inside / so hard for a good soul to survive / you can't even trust the air you breathe / cause Mother Earth wants us all to leave / when lies become reality / you numb yourself with drugs and TV”. As the mini-rock opera finally reaches its finish, we fade out in ecstasy, ending the album perfectly.
All in all, “Demon Days” is a great album and certainly lived up to my expectations. Whether or not it is better than their self titled debut is all a matter of opinion, but if you ask me, Demon Days is better than the self-titled debut. Sure, the latter had all sorts of pop-accessible songs that could easily be played on the radio and at parties, but “Demon Days” is a true piece, designed to be played start to finish for the full effect. Its more mature and more involving than their debut. Also, whereas their debut was more of a ‘surface album’ with little to no lyrical depth in the lyrics, "Demon Days" really makes you think. See, I am really into lyrical depth, I love deciphering lyrics to see what they mean (see my review of “Rip the Jacker” to see me deciphering rap lyrics). That’s one of the things I love about “Demon Days”, it’s full of metaphors and commentaries on society; some disturbing, others possibly fulfilling. In one respect, this is just like their debut, it the sense that after listening to it, I said to myself "I've never heard anything quite like this before". The best way to enjoy this record is not to expect anything. With “Demon Days”, it seems like Gorillaz are truly here to stay, and there will be no more monkeying around from these guys.
The 15-track Demon Days is the follow-up to Gorillaz s worldwide smash self-titled debut and was co-produced by Albarn and Danger Mouse. The London Co...More at Buy.com Marketplaces
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