By Patrick Greenwell
The brainchild of Blur vocalist Damon Albarn and comic artist Jamie Hewlett, the virtual band known as the Gorillaz did not garner much attention when it debuted in 1998. Not until 2005, with the release of their second album “Demon Days,” did the band gain much notoriety. “Demon Days” featured Albarn’s collaboration with a number of influential musicians and proved to be one of the most impressive albums, if not the outright best, of the year. Five years later, Albarn and his fictional band are back with a number of new musical collaborators for the band’s third album, “Plastic Beach.” While it continues in the same tradition as its predecessor, it falls somewhat short.
The band’s style has always been a blend of musical genres, including hip-hop, alternative rock and pop. While “Demon Days” focused heavily on the hip-hop and alternative rock aspects, “Plastic Beach” leans more toward pop music. The songs themselves are much simpler than those on the previous album, putting emphasis on catchy hooks rather than more complicated and abstract tracks. In terms of instrumentation, the album mixes orchestral accompaniments with a pervasive use of synthesizers. Most tracks favor a drum machine to an actual drum set, which provides a unique and surprisingly pleasant sound. A number of the tracks, “Glitter Freeze” and “Empire Ants” in particular, seem to have a very dance-oriented sound.
Like “Demon Days,” “Plastic Beach” features an impressive list of collaborators, including Lou Reed, Snoop Dogg, Mos Def and Bobby Womack, along with Mick Jones and Paul Simonon of The Clash. Each of these artists brings their personal style to the tracks they provide. However, due in large part to the emphasis on synthesizers, the album still manages to retain a cohesive sound. While all the artists are impressive, Mos Def and Womack definitely stand out. Both are featured on the album’s first single, “Stylo,” which is without question one of the best tracks of the album. The mixture of soul, hip-hop and pop on the track creates a very unique listening experience.
De La Soul, who collaborated with the Gorillaz on the single “Feel Good Inc.,” return here for “Super Fast Jellyfish,” which proves to be another excellent hip-hop track. It’s simple and catchy with witty lyrics and is a genuinely fun track. Albarn’s weepy falsetto vocals sound excellent on the pop tracks “Rhinestone Eyes” and “On Melancholy Hill,” and pair well with Lou Reed on “Some Kind of Nature.”
Even with a number of great tracks, “Plastic Beach” is not without its shortcomings. Tracks like “Broken” and “Glitter Freeze” feel forgettable. The former fails to do anything to keep the listener interested and the latter lasts far too long, quickly becoming boring and repetitive. “White Flag” has an interesting orchestral component, but the hip-hop portions, provided by Bashy and Kano, feel out of place and create a very jarring transition. “Empire Ants” is a mixed bag, featuring a lackluster performance by Albarn which segues into an excellent and incredibly catchy second half by artist Little Dragon.
While not quite as impressive as “Demon Days,” “Plastic Beach” is still a must-have for any Gorillaz fan. Those unfamiliar with the band will also find a lot to enjoy here. “Plastic Beach” is a far more accessible album than its predecessor. Though much less serious than “Demon Days,” and with less emphasis on a thematic message, “Plastic Beach” is still sure to appeal to anyone looking for a unique and striking musical experience.
