![]() “Lonely Press Play” was very strongly about a really intimate relationship with a piece of technology. In my head, Everyday Robots, Magic Whip, and Humanz all peck away at a similar aspect of the human experience, which is, you know, loneliness, disenfranchisement, alienation, the feeling of a lack of control. I mean, I do aspire to joy, I just … I just seem to be an inveterate fucking melancholist. How’d you achieve a joyful record about dour times? He really knew what he’s talking about.Ī lot of records that speak to the political pulse of their times, don’t sound joyous. That’s kind of what I do, which is interesting because I suppose I was always, as a kid, very very inspired by George Orwell, who kind of was the master of that. We talked about receiving and processing ominous vibes from the universe, what he’s listening to (“1950s recordings of Malian griot music,” naturally), and what he’s working on (for the record, a new album from the supergroup the Good, the Bad, the Queen, whose 2007 self-titled debut united Albarn with Gorillaz guitarist Simon Tong, the Clash’s Paul Simonon, Afrobeat pioneer Tony Allen, and the producer Danger Mouse).Īm I wrong to read Demon Days and Plastic Beach as cautionary sci-fi, in the same way that The Twilight Zone speaks to the climate of the ’60s without sermonizing about it? I met Damon Albarn in the Meadows’ makeshift backstage artists’ village. It’s just that this time the planet being trashed is modern-day Earth. Humanz isn’t so different from those albums at all. In the same way that a cartoon like Adventure Time stashes a word about environmentalism in its geography and lore - it’s set on a world called Ooo whose mystery and magic are slowly revealed to be fallout from what can best be described as nuclear cataclysm - the set pieces in a Gorillaz album, from Plastic Beach’s titular garbage island to the blighted worlds of Demon Days, are warnings about the consequences of human carelessness. Bingeing on the Gorillaz back catalogue in the leadup to a Saturday headline spot at the second annual Meadows festival last summer, where I met Albarn to ask about his aspirations in creating the project, it dawned on me that politics has always lingered in the margins for Gorillaz. I’ve long believed that the dividing line between Albarn’s work in Blur and Gorillaz was politics: The singer would periodically sidestep his role as front man of the band that skewered the life of the British everyman for a palette-cleansing cartoon dance party, then get back to the business at hand. Those contributions - alongside album-closer “We Have the Power,” which is fueled by an impassioned call for unity from Jehnny Beth of the post-punk revivalists Savages and backing vocals from Albarn’s former nemesis Noel Gallagher - make for the most overtly political Gorillaz album to date, but really it’s just a sharp portrayal of themes that have been present on this planet all along. Without a prompt, the rappers Pusha T and Vince Staples decided our dark night of the soul would involve Donald Trump being elected as president and turned in verses and choruses about missing the peace of the Obama years while greeting death under cracked skies. Working with a troupe of gifted rap, house, soul, and dancehall artists, Albarn crafted an album about rescuing humanity from the brink of ruin, instructing his collaborators to imagine a life-threatening calamity and write about the fight to best it. 2001’s Gorillaz mixed wigged-out cartoons, underground hip-hop production, and nods to Japanese otaku culture six months before the birth of Adult Swim.Īlbarn did it again with this year’s Humanz, the fifth Gorillaz full length. Then, ’97’s “Song 2” stumbled on the electrorock jock jam and broke the band in America by accident 1999’s 13 album bridged the earthen guitar theatrics of end-of-the-century gems like Grandaddy’s Under the Western Freeway and Radiohead’s OK Computer and their technophiliac year-2000 counterparts The Sophtware Slump and Kid A. Blur’s mid-’90s trilogy of Modern Life Is Rubbish, Parklife, and The Great Escape was sharp enough to make seething rivals of the lad rock kings in Oasis. ![]() ![]() The Blur and Gorillaz architect’s work has landed much too close to where rock or pop or electronic music would end up a year or so behind him to call it a coincidence. (arabic, funny, games, india, funk, country)ĭownload Gorillaz - Clint Eastwood įormats Available. (Christmas, Halloween, Valentine, Themes) (guitar, progressive, glam, hard, punk, thrash metal) Download Free Cellularphone Polyphonic Ringtone - Clint Eastwood : Gorillaz Ringtone ![]()
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