Gorillaz - Demon Days

Thu 2nd Jun, 2005 in Music Reviews

From the opening blips of Intro, Demon Days is a distinctly darker affair than the self-titled Gorillaz 2001 debut. It seems like an age since the massive success of that album’s single Clint Eastwood, and it’s certainly a hard act to follow. The inherent downfall of many verging-on-novelty side projects is their tendency to be a one-off affair. Demon Days on a whole though, is just as effective in its mastery of quirky pop experimentation.

The first head-nodder of the album emerges with the third track, Kids With Guns. It’s a simple formula – heavy on the bass, the same three guitar chords and with largely unadorned vocals – and the lazy drum machine-like rhythm lends Kids With Guns a sleazy feel, and the lyrics a knowing smugness. There’s also some barely-detectable backing vocals by Neneh Cherry hidden just before the messy climax. At first O Green World seems like it could continue on a downward spiral of effects collages and melodramatic keyboard chords, but it’s soon transformed into a heavy stomp merely flavoured with these qualities. The chorusing vocal is what pulls it all together, with Damon Albarn’s telephone-quality whispering gliding over the top of the mix.

The synth reverb-heavy Dirty Harry is like Grandmaster Flash with a school choir, some modernised production and extra funk sensibilities thrown in. It’s even got some rapping, which is a jolt to the song’s continuity and the confrontational tone seems slightly out-of-touch with the candy store pop sound of the remainder of the song. In contrast, it’s not hard to see why Feel Good Inc has already garnered a considerable amount of popularity in the world of pop. It’s very much a dance track, almost a synth version of what a pop rock song should sound like, and ups the street cred by including De La Soul in the vocal section. It’s a little predictable however, and seems like the Gorillaz have been contorted somewhat into a more marketable box.

Just before the R&B synth beats get a bit too much, Every Planet We Reach is Dead brings back the sleaze and chorusing harmonies to create another album highlight. The piano solo contributed by Ike Turner adds some class to what is otherwise a very computer-happy album, and although electronic manipulation is the Gorillaz trademark, Every Planet… is a reminder of the potential the band’s organic factor holds. All Alone features a plethora of approaches – sampling, beat-heavy rhythms, and a call chorus echoed by a disturbingly munchkin-like response vocal. Roots Manuva provides a brief vocal stint that carries the dynamic of the song quite nicely. White Light is more of a disco number, a frantic drug-addled jig interspersed with ambient samples and anchored by a fat (it’s the only way to describe it) bassline and punchy rhythm.

If we’re talking potential radio hits, Dare is right up there. It’s a fusion of ‘80s synth sounds with a dirty disco structure, all sliding, crunchy basslines and pitch shifts. Shaun Ryder provides monotonous vocals but it’s Rosie Wilson who really shines with her gorgeous ‘backing’ vocals dominating the song. Dare’s Ghostbusters feel coupled with the keyboard tinkling and contagious bass sound will stick with you for hours. Days even.

The choir thing is dragged out again for Don’t Get Lost in Heaven, and as lovely as it is, by this time it’s getting slightly tedious. The title track and closer is sewn into Don’t Get Lost... appearing mid-way through a vocal. The chorus continues. It’s almost two minutes before any kind of dynamic kicks in and even then the focal point of the London Community Gospel Choir seems lost in the mix, the depth of the vocals never seeming to be fittingly represented.

On a whole, Demon Days is a fine effort, but it’s 15-track girth could be trimmed down. A few of the tracks (El Manana, November Has Come) come across as spontaneous extensions of others, and although the album is fantastically eclectic, this approach sometimes dilutes that kaliedescopic effect. There’s some amazing pop tunes on ths record, as well as some miraculously good experiments. The no-holds-barred indulgency of the album works to its advantage, although the more fleeting snatches of experimentation seem to linger far longer than their pre-meditated and lengthier counterparts.