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On the album-closing title track, the appearance of a choir genuinely works, accomplishing the amazing task of being the second time (after "Tender") that Albarn has gotten away with effectively employing that ultimate lazy rock add-on. In fact, if the Gorillaz concept achieves anything beyond keeping Hewlett employed and producing some snazzy videos and websites, it's proving that Albarn can successfully wield the sonic toys he's mostly kept partitioned apart from his flesh band. Though the results of his exuberant mixing and matching are uneven at times, Albarn's obsessions fit together just often enough to again make Gorillaz more than mere Adult Swim novelty.Gorillaz – Demon Days (Full Album) Zip Download.
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That they had no fixed lineup and an ever-rotating series of vocalists and collaborators (from Elton John to De La Soul, Clash bassist Paul Simonon to Afro-Cuban singer Ibrahim Ferrer) not only undercut old ideas of what it meant to be a “band,” it projected a vision that felt communal, even a little utopian, unbound by borders cultural, stylistic, or otherwise. But in retrospect, Gorillaz’s work-the electro-indie pop of “Feel Good Inc.” and “Dare,” the leftfield hip-hop of “Clint Eastwood” and “Dirty Harry,” the bits of American gospel, African folk, and dub-reflected a rootless, fragmented world that has only gotten more familiar with time. The question hit them: If culture was already fake, why keep pretending it was real?Īt first glance, the idea of an animated “virtual band”-the sprightly 2-D, rogue Murdoc Niccals, gangsta Russel Hobbs, and sweet outsider Noodle-seemed a little gimmicky, an art-school shot at mainstream pop. This was the dawn of reality TV-shows that turned so-called real life into prepackaged stories and people into cartoons. Their eyes were glazed, their minds empty.
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One day in the late '90s, comic-book artist Jamie Hewlett and Blur singer Damon Albarn were sitting around in their West London flat watching TV-a brand-new Panasonic, eight channels on screen at once.