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No. 9772
Just got done listening to the album, here's what I think.
Definitely the most commercial of Gorillaz albums, and that is to say, it sounds the most commercialized. There's much more rapping and electronic dance tracks on Plastic Beach, substituting for moody trip-hop escapades, and alternative rock/rap mash ups. However, this is also, and surprisingly, their most interesting album. Yes, while rap and techno beats make up most of this album, they manage to find odd synth tones, and inject even stranger musical elements into the songs. It's also their most beautiful album, which surprised me, since I never really felt any sort of emotional attachment to a Gorillaz album. Yet somehow, this most plastic of sounding Gorillaz album seems the most human, maybe because some of the creepier elements of Gorillaz past were dropped for more sincere songs.
I honestly cannot explain what sets Gorillaz apart from other dance/rap/hip hop/techno/etc acts. Many elements that appear in today's most atrocious modern music rear their ugly heads here, however, leave it up to the Gorillaz to turn it into something worthwhile. I suppose I can compare the electronics to those found in "Yoshimi Battles the Pink Robots", instead of settling for just "stock beats" and generic synth tones, they venture fourth and try to discover something new, and they pull it off.
The largest improvement on this album is the steam that is kept throughout this album. The last two Gorillaz albums dragged, usually halfway through, as the albums became more dominated by more somber tracks and trippier tracks. On Plastic Bleach, the emotions are switched out frequently, such as the transition from mellow croon "Broken", into the excited "Sweepstakes". The album manages to not suck up your time, while still being long enough to fulfill your desires. And the best part? You'll want to give it another spin after it's already finished.
Yet for all of the praise I give the Gorillaz for dropping the more depressed and detached tunes, I still miss them at times. There is a bit too much rap on here, and sometimes it really seems like you're listening to a modern rap record. In comparison to their previous album, "Demon Days", this album hardly seeks to transcend emotions, but remains groovy, stylish, and somewhat dark throughout (and oddly, still bubbly).
Another minor criticism I must make is the OVER use of guest musicians. While I realize all Gorillaz albums have frequently featured them, it seems as if Dave Albern himself is pushed to the back, and overshadowed by the plethora of artists, which include Mark E. Smith of The Fall, Lou Reed of The Velvet Underground, Snoop Dogg, Mos Def, Bobby Womack, and De La Soul just to name a few. As fun as the album is, and as interesting, it seems like the Gorillaz more and more wish to blur the line between an actual band, and a ragtag collective of various artists.
1. Orchestral Intro: Like the end of Demon Days, the album picks up with a dramatic orchestral piece. Surprisingly beautiful, it's surprising how legitimate this orchestral work sounds. A build up, and into the next song we go.
Welcome to the World of the Plastic Beach: Snoop Dogg appears on this track. His dopped up style of rapping is accompanied nicely by moody synth backdrops and B-Horror movie keyboards. Nice song, that doesn't wear out it's welcome.
White Flag: Probably my favorite off the album. Beautiful Arabian Classical music clashed with a quirky rap track. Oddly middle eastern and tropical at the same time.
Rhinestone Eyes: Dave Albarn's mellow drawl is as intoxicating as ever. Brilliantly anthemic synth lines and a dancey back track make this one of the most instantly enjoyable songs on the album.
Stylo: Futuristic Saturday Night Fever on heroin. It's rather interesting, especially as a choice for a single. Bobby Womack's vocals don't fit in much, but overall, the track is brilliantly catchy.
Superfast Jellyfish: Opening with a commercial breakfast food sample, straight out of an DOOM song, Superfast Jellyfish blends the quirky lyrics and even quirkier music to create the most enjoyable straight up rap song the Gorillaz has ever recorded. The chorus is interesting, sounding more like some sort of Daft Punk meets neo-psychedlia mashup.
Empire Ants: Beautiful. Again, an odd trait for the Gorillaz, but it really is. The trickling strings and chimes in the background, met with a euphoric crescendo make this song rather beautiful, yet dancey at the same time.
Glitter Freeze: Somewhat of a filler track. A bouncy synth number, with Mark E. Smith as the marching band leader, spouting off random bits of his nonsensical poetry. Repetitive, but then again, it's Mark E. Smith.
Some Kind of Nature: Analog synth, with the smooth mix of Lou Reed and Dave Albarn's vocals that compliment each other nicely. Another dance track, but rather interesting, and a potential single possibly.
On Melancholy Hill: Poppy, but the synth backdrops remind me unfavorably of The Killers. Regardless, it's simplicity is charming, and it's undeniably catchy as hell.
Broken: The music is more by the numbers this time, but the vocals and the lyrics make it interesting enough.
Sweepstakes: From the start, it seems to be one the only un-enjoyable song on the album. Thankfully, the song builds idea atop of idea, becoming rather hypnotic.
Plastic Beach: Outer space robotic psychedelic dance. Hypnotic, blissful.
To Binge: The second track featuring Little Dragon. Poppy, acid drenched euphoria. Sounds like it could be a Flaming Lips song.
Clouds of Unknowing: Bobby Womack's vocals are better handled here. A dragging, moody, orchestral piece, leaving us with the sound of rolling waves and sea gulls.
Pirate Jet: Awesome freaky B-Horror movie synth flourishes. A short outro, but it seems to be strategically placed after what may be the Gorillaz most serious song, to remind us of ther quirkiness.
Overall: 9/10 (and I'm surprised I liked it that much)
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