Review: Plastic Beach

Written for Heaven is Whenever.

Gorillaz, cartoon band that critics insisted on calling “just a gimmick”, despite 15 million sales and a decade of cult following, are, after another of their trademark several year absences, back on the scene with their third album (if you exclude B side collections, which are worth picking up on their own merits), Plastic Beach.

If, like me, you prefer the fantasy put forward by the band’s videos etc, to the reality of Ex-Blur man Damon Alburn with a load of session musicians, then having abandoned their previous hideout, Kong Studios, in favour Plastic Beach (“The most isolated place on the planet”, says Murdoc) built on tons of trash thrown to sea (Ah, environmental themes are becoming clear already and we’re hardly past the album cover), the band (or at least, Bassist Murdoc and vocalist 2D- obese drummer Russell and guitarist Noodle currently MIA) are free to pursue musical experimentation to their heart’s desires. Once again packed with guests, ranging from Mos Def to Lou Reed, the band churn out another success of an album, that manages to hold your attention from the opening track, an orchestral piece that balances suspense and tranquillity in an oddly disquieting way, to the last, Pirate Jet. In the 58 minutes between those two points, a dedicated listener will be treated to a huge variety of sounds.

In the first ten minuites, you’ll have heard hip hop (Welcome to the World of Plastic Beach) and- Gorillaz have never shied away from World Music influences- an Oriental inspired pan pips fused with the above (White flag). But both these tracks are mere warm up for what follows.

Lead single Stylo, (Why yes, that is Bruce Willis in the video) with Mos Def and Bobby Womack stands comes a few tracks in. Possibly consisting of not a single “real” instrument, this synthesizer heavy tune features an addictive bass line and good vocals from guests Def and Womack as well as 2D. Although Stylo was probably the best choice for a single, since most of the other tracks need to be heard in the context of the full album to be fully appreciated, Stylo is in fact one of the album’s low points. Not at all fitting in with the tranquil beach theme or the reflecting-upon-affluent-society ethos, Stylo almost seems to be an added extra to the album than part of the album itself. Not that’s its a bad song; it just doesn’t seem to fit in with its neighbours.

Superfast Jellyfish, on of said neighbours, is a bouncy and uplifting tune, which is as far as I can make out is about fast food. Sure to become a fan favourite, Jellyfish contains good vocals provided by long time Gorillaz colaborator De La Soul (Clint Eastwood and Rock the House from the debut album) mixed with the trademark Gorillaz oh-so-slightly avant garde style. It’s a more upbeat and energetic tune than most on the album, but after every MSG driven energy rush comes a crash, in this case in the form of Empire Ants.

Much more slow paced and relaxing, Empire Ants may remind some listeners of the repetitive, “Muzak” often deployed in hotel lobbies and elevators. At least, until the 2 minute mark, when the drums and synths really kick in, alongside Yukimi Nagano’s vocals. Then, the tune takes a totally different direction.

On Melancholy Hill will give fans of MGMT a buzz; 2D has obviously been listening to Oracular Spectacular. The album continues, never letting go of it’s “peaceful beach” theme- To Binge, again with Nagano, being a prime example. It’s impossible to be angry whilst listening to this song, it’s simply too peaceful on the ears.

These are just a few standout tracks on the 16 track, hour long album; many of the songs are great on their own, such as Stylo and Superfast Jellyfish, but like it’s predecessor (and unlike it’s predecessor’s predecessor), Plastic Beach comes out as an album, much like Pink Floyd’s The Wall, or Rush’s Power Windows, that to be properly enjoyed needs to be listened to as a whole rather than as the sum of its parts. As usual for the band, it’s ambitious, and covers more genres than you could throw a stick at, but once again it all comes together beautifully.

No review could skip the underlying theme of the album; not quite explicitly environmentalist, the record exudes concern for humanity’s apparent disdain for dear old Mother Earth. Albarn himself says of the records lyrical content:

I suppose what I’ve done with this Gorillaz record is I’ve tried to connect pop sensibility with … trying to make people understand the essential melancholy of buying a ready made meal in loads of plastic packaging…

We didn’t create plastic, nature created plastic. And just seeing the snakes like living in the warmth of decomposing plastic bags. They like it. It was a strange kind of optimism that I felt… but trying to get that into pop music is a challenge, anyway. But important.

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