Gorillaz demon days album cover instrumental
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But for the most part, the album’s mood is affecting and enveloping. The Cormorant shifts in and out of focus, somewhere between dreamlike and frustrating the intense sax improv of instrumental Combustion is hard work. There are moments where the music sounds almost too crushed by the weight of the world, where the songs start to unravel and become hard to latch on to. Ostensibly a love song, even the relatively upbeat Royal Morning Blue sounds haunted by something other than the relationship at its centre: “Nothing like this had ever happened before … stay by my side at the end of the world”. It drifts along in a melancholy, stoned mist – you can detect its origins in improvisations inspired by the view from Albarn’s Reykjavik studio – its mood subdued by the pandemic and the death in 2020 of frequent Albarn collaborator Tony Allen, whose ghost looms over the opening title track: “You seemed immortal … to my heart you were nearest.” The lyrics are filled with disquieting memories of happier times: children playing on a beach, abandoned buildings where parties were once held. It’s a markedly different beast from its predecessor: more opaque musically and lyrically, flecked with jazzy saxophone, frequently driven by the sound of an ancient drum machine. The source of most of Albarn’s Glastonbury set, it began life as a commission from a French arts festival, underwent a knotty, Covid-punctuated gestation period and has emerged as the de facto follow-up to Albarn’s 2014 solo album, Everyday Robots. Then there are the projects that sit somewhere in the middle of what you might call the sliding Albarn scale (Girls and Boys or Feel Good Inc at one end and Dr Dee’s experiments with the viol and theorbo at the other), of which The Nearer the Fountain is a perfect example. Doing exactly what he wants has sometimes occasioned more vast success – Gorillaz’s second album Demon Days sold 8m copies worldwide – but there have also been musicals with lyrics in Cantonese, collaborative projects influenced by Sun Ra, Funkadelic and Fela Kuti, and soundtracks for immersive theatre works performed by the Kronos Quartet, none of which appear to be have been made with an eye on the charts or top billing at festivals. By all accounts one of the most zealously driven artists of the Britpop era, he has spent the last 20 years doing something you would expect more major rock stars to do, but that hardly any actually seem to manage: using the space and time created by vast success in order to do exactly what they want, unbothered by commercial concerns.
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It was a neat illustration of Albarn’s contemporary approach to music-making.