It’s been half a decade since anyone last heard from Damon Albarn (of Blur) and Jamie Hewlett’s virtual band Gorillaz. And finally, patience has bred reward. Just don’t be too eager to dive into Plastic Beach. It takes some time to get used to the water. Once adjusted, however, a complex, multi-dimensional art-pop sound makes it obvious why they have taken their sweet time in creating the album, a production worth the wait.
But not so fast, a cinematic introduction stalls a few minutes longer before you reach the meat of the album. “Orchestral Intro” is the first of a three-song lead-in that is packed with no less than five guest appearances, including Snoop Dogg. His flow through “Welcome to the World of the Plastic Beach” capitalizes on his caricatured pop-culture status, a position that fits comfortably among the Gorillaz’ four animated members. Snoop’s part tiptoes around fame-critical mockery, a stunt you certainly can’t put past Gorillaz, who are always quick to critique.
And critique they do, albeit through lyrics veiled in water-themed innocence. From craftily slanting the music industry in “Superfast Jellyfish” to mocking society’s over-ambition in “Empire Ants,” these apes have plenty to say about the status quo, and they do so in the catchiest tracks to boot.
While Albarn himself produced most of the music you hear, he personally sings a minority of the lyrics. This should come as no surprise, given the genius song construction and hoards of guest artists. Among the guests are Mos Def, De La Soul, Bobby Womack and Lou Reed. The odd cast contributes to a pleasantly confusing style that blends signature Gorillaz trip-hop with everything from dance beats to jungle drums to full-blown symphony orchestras.
Thus, to label Gorillaz as trip-hop these days would be like diminishing a human to chimpanzee status. Albarn has evolved impressively since Demon Days, exploring a vast range of instruments and song structures. He experiments, but he also keeps a grasp on sanity with songs like “To Binge,” a ballad that has 2-D (voiced by Albarn) and Noodle (voiced by Little Dragon) trading dazed verses over beach cabana organ sway. The easy-listening track amid organized madness shows their rarely exposed soft side.
Instances of surreal instrumentation leave wonder if Albarn has been taking notes from the Flaming Lips in an attempt to create a mind-blowing epic. Rest assured, unlike the Lips’ Embryonic, there is more pop sensibility here than in any previous Gorillaz release. You’ll find it resting in “On Melancholy Hill” and in “Plastic Beach.”
Full appreciation of this album’s many facets cannot occur until taking the time to listen all the way through. Again, it’s all about patience, which says something about overall consistency. There aren’t as many standalone jams as in old Gorillaz work, but the album as a whole shows unexpected cohesion.
A full-length listening session sheds light on a genius track order that flows like the tide, washing up something new with every transition. From overture introduction to march out finale, Plastic Beach illustrates some serious progress at Gorillaz headquarters, literally and figuratively.
4 stars out of 5.
