With the release of their heavily anticipated third studio album, Plastic Beach, the Gorillaz seem to have repudiated all doubts of legitimacy and grounded themselves as one of the top British bands influencing the international music scene. Members Damon Albarn and Jamie Hewlett revitalize the band’s idiosyncratic mix of hip-hop and alternative rock into a more orchestral tonality by fusing electronic and dub sounds to create a mélange of awesomeness. Now while I might seem somewhat prejudiced towards this new album, this slight bias stems not from my endearment to the Gorillaz, as before Plastic Beach I was not that much of a fan of their previous multi-platinum albums, Gorillaz and Demon Days. Rather, it springs from the reaction I had after listening to the album in its entirety and what everyone can hopefully expect from the Gorillaz in the future.
The album begins with something that is dear to me, which is orchestral music performed by Sinfonia ViVA of the midlands (I play violin…). Now many might stop reading here and discount this CD due to the connotation the word orchestral evokes, yet the Gorillaz only use this orchestral combination sparsely throughout the album. The album then transitions to a partial introduction/track by the legend himself, Snoop Dogg, which foreshadows the quality of what the listener is about to receive. With favorites such as, “Stylo, Plastic Beach, and Pirate Jet,” listeners experience the electronic-rock infused style of music that seems to be the new hipster sound that is sweeping the music industry. “Plastic Beach” scarily resembles the likes of MGMT and the Killers, while “Stylo” features renowned artist Mos Def that takes a backseat on many tracks throughout Plastic Beach.
While most know the Gorillaz to be the virtual “cartoon-like” band that has music videos so trippy, indieplex might not even air them, this public persona is what adds to the peculiar nature of their music. Tracks such as, “White Flag” and “Superfast Jellyfish” are more towards their hip-hop roots that got them where they are today and will most likely continue with them until Gorillaz retire. With featured artists such as Lou Reed, Bobby Womack, Mos Def, Bashy, and Kano, this album has more soul than James Brown could ask for. The melodic nature of most songs details the time put into making not only catchy tunes, but something with style and flare that cannot be replicated. Like many of its clients, Virgin Records has an international winner that will not only bring in more revenue in these debilitating economic times, but also be around for much longer.
Album Grade: B+/A-
-Will Matthews
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