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Gorillaz|Demon Days

Demon Days

Gorillaz

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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.
© Stephen Thomas Erlewine /TiVo

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Demon Days

Gorillaz

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1
Intro
00:01:03

James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Damon Albarn, Vocals, Writer - Stephen Sedgwick, Assistant Mixing Engineer - Jason Cox, Producer, MixingEngineer - Don Harper, Writer

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

2
Last Living Souls
00:03:10

James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Emma Smith, Double Bass - Stella Page, Viola - Prabjote Osahn, Violin - Amanda Drummond, Viola - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Simon Tong, Guitar - Sally Jackson, Violin - Steve Sedgwick, Assistant Mixing Engineer - Al Mobbs, Double Bass - Isabelle Dunn, Cello

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

3
Kids With Guns (featuring Neneh Cherry)
00:03:45

Brian Burton, Writer - James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Neneh Cherry, Additional Vocals - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Writer - Steve Sedgwick, Assistant Mixing Engineer

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

4
O Green World
00:04:31

Brian Burton, Writer - James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Simon Tong, Additional Guitar - Steve Sedgwick, Assistant Mixing Engineer

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

5
Dirty Harry (featuring Bootie Brown and San Fernando Valley Youth Chorus)
00:03:43

Brian Burton, Writer - James Dring, Producer, Programmer - Romye Robinson, Writer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Emma Smith, Double Bass - Stella Page, Viola - Prabjote Osahn, Violin - Amanda Drummond, Viola - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Sally Jackson, Violin - Steve Sedgwick, Assistant Mixing Engineer - Al Mobbs, Double Bass - San Fernandez Youth Chorus, Choir - Isabelle Dunn, Cello - Bootie Brown, Featured Vocals

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

6
Feel Good Inc (featuring De La Soul)
00:03:41

David Jolicoeur, Composer - Kelvin Mercer, Featured Vocals - Brian Burton, Writer - James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Writer - Simon Tong, Additional Guitar - Steve Sedgwick, Assistant Mixing Engineer - Vincent Mason, Featured Vocals - Dave Jolicoeur, Featured Vocals

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

7
El Mañana
00:03:50

Brian Burton, Writer - James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Emma Smith, Double Bass - Stella Page, Viola - Amanda Drummond, Viola - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Writer - Sally Jackson, Violin - Steve Sedgwick, Assistant Mixing Engineer - Al Mobbs, Double Bass - Isabelle Dunn, Cello - Antonia Pagulatos, Violin

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

8
Every Planet We Reach Is Dead (featuring Ike Turner)
00:04:53

James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Ike Turner, Piano - Gorillaz, MainArtist - Emma Smith, Double Bass - Stella Page, Viola - Prabjote Osahn, Violin - Amanda Drummond, Viola - Damon Albarn, Composer, Vocals - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Composer - Sally Jackson, Violin - Steve Sedgwick, Assistant Mixing Engineer - Al Mobbs, Double Bass - Isabelle Dunn, Cello

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

9
November Has Come (featuring DOOM)
00:02:41

Daniel Thompson, Composer - James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Writer - Steve Sedgwick, Assistant Mixing Engineer - MF Doom, Featured Vocals

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

10
All Alone (featuring Roots Manuva and Martina Topley-Bird)
00:03:30

Brian Burton, Writer - James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Emma Smith, Double Bass - Stella Page, Viola - Prabjote Osahn, Violin - Amanda Drummond, Viola - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Writer - Simon Tong, Guitar, Writer - Sally Jackson, Violin - Steve Sedgwick, Assistant Mixing Engineer - Martina Topley Bird, Additional Vocals - Al Mobbs, Double Bass - Roots Manuva, Featured Vocals - Rodney Smith, Writer - Isabelle Dunn, Cello

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

11
White Light
00:02:08

James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Damon Albarn, Composer, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Composer - Steve Sedgwick, Assistant Mixing Engineer

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

12
DARE (featuring Shaun Ryder and Rosie Wilson)
00:04:04

Shaun Ryder, Featured Vocals - Brian Burton, Writer - James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Damon Albarn, Composer, Vocals - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Composer - Steve Sedgwick, Assistant Mixing Engineer - Rosie Wilson, Backing Vocals

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

13
Fire Coming Out Of The Monkey's Head (featuring Dennis Hopper)
00:03:16

James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Damon Albarn, Composer, Vocals - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Composer - Dennis Hopper, Narrator

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

14
Don't Get Lost In Heaven (featuring the London Community Gospel Choir)
00:02:00

James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Writer - Steve Sedgwick, Assistant Mixing Engineer - London Community Gospel Choir, Choir Vocals

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

15
Demon Days (featuring the London Community Gospel Choir)
00:04:28

James Dring, Producer, Programmer - Howie Weinberg, MasteringEngineer - Danger Mouse , Producer, MixingEngineer - Gorillaz, MainArtist - Emma Smith, Double Bass - Stella Page, Viola - Prabjote Osahn, Violin - Amanda Drummond, Viola - Damon Albarn, Vocals, Writer - Jason Cox, Producer, MixingEngineer - Jamie Hewlett, Writer - Sally Jackson, Violin - Al Mobbs, Double Bass - London Community Gospel Choir, Choir Vocals - Isabelle Dunn, Cello

© 2014 Parlophone Records Limited, a Warner Music Group company. ℗ 2014 Parlophone Records Limited, a Warner Music Group company.

Album Description

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.
© Stephen Thomas Erlewine /TiVo

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