I feel a personal connection to Damon Albarn and Jamie Hewlett's brainchild. The idea of a cartoon band that didn't actually exist that had layers of detail, lore, and multimedia approaches that allowed for them to come to life was frankly incredible. I had never seen or heard anything like it up until that point in my life. I must've been 13 when I first heard their first self titled debut album and I remember instantly falling in love. Growing up with a lot of 80's British new wave thanks to my uncle, the album was the coolest thing ever. It was a blend of genres molded in an album whose primary function felt like an assault on mainstream pop. The first album summarized in short, was an acquisition of the pop genre; only for it to be turned on its head, beaten to death, and regurgitated as something new, incredible but familiar. To successfully blend hip hop, trip hop, punk, post-punk, Jamaican dub, electronica, new wave, pop, and alternative rock all in the same album was stunning.
Frankly, I didn't give a damn about rap or hip hop until Gorillaz allowed me to enjoy it while blending it with genres I had already came to enjoy. To think that Gorillaz was the means for my appreciation of hip hop today is truly mind numbing for me. The follow up albums "Demon Days" and "Plastic Beach" would introduce more and more collaborators to the albums and allowed me to discover new artists all the time that I frankly would normally have never cared for. It is thanks to Gorillaz that I now love and appreciate to this day the works of MF Doom, De La Soul, Booty Brown, Ibrahim Ferrer, Little Dragon, Bobby Whomack, etc. Both these follow up albums served to prove Albarn's versatility in terms of compositional flare as well as Hewlett's cooky but lovable sense of world building and characterization in a way that mainstream media simply has to this day, (at least in my opinion) never truly replicated. But with three consistently well-crafted hits, would there eventually come a time where this incredible project would finally hit a tenuous strain? It is now time to piece together my thoughts on an album I truly want to love.
"Humanz" is a concept album that was approached in an interesting way. It's an album that is meant to serve as a dance party at the end of the world. Albarn has woven an album that is meant to both exemplify and berate 2017 rather chillingly. He essentially told the large number of collaborators on this album to envision the end of the world amongst the midst of a horrible atrocity occurring on a day unlike any other. He was directly referring to Donald Trump winning the American presidency. Fast forward now, and well its now equal parts spooky and fitting. So what can I say about the album in a general sense? Well...it still bears with it that strong soul vibe that I feel has been for the most part staple to Gorillaz' discography. The album is also very catchy and for the most part, well produced. For doing it's concept justice, the album succeeds almost flawlessly. But at the end of the day, the primary questions that boggle me at my core are as follows:
-Is this a good album? - Do I like this album? -Are my issues with the album really issues? -How many collaborators is too many collaborators?
To answer these questions I feel it only to be appropriate to take an individual "track by track" analysis approach before listing a slue of conclusions that may help to begin to unravel the aforementioned internal enigmas. So here goes nothing: (also dualy note that I will skip interludes for obvious reasons and will not analyze the bonus tracks as they are simply bonus content of sorts. However, I will say that the bonus tracks "The Apprentice" and "Ticker Tape" were my favorites)
1.) Ascension (feat. Vince Staples):
Ascension is an interesting track to kick the album off with. Albarn chose a relatively new, young, and aspiring rapper to be the feature of the first track. Some would call this a ballsy move, but personally I think it's cool that Albarn is willing to choose artists such as Staples in this particular scenario. Anyways, lyrically "Ascension" tells us the story that the world has indeed come to an end. The sky is falling and we don't truly know how much time we have left before it all comes to a conclusive end. As such, Vince has taken the "I'm going to fuck as many women as I can before I die" approach. The track has references to white privilege and historical contexts of racism towards African Americans. As an artsy song fulfilling it's roll to the story, the song does a great job. However as a song, I find it strange for a Gorillaz track to have blatant lyrical nods to sex. This never bothers me in music, I just find it odd out of Gorillaz who to my knowledge have never been this blatantly sexual in the past. But I digress, every new Gorillaz release brings with it a new sound and new themes. I think as a song Ascension is okay. It's catchy and Staples rapping is flowy and on point. Lastly, it's worth noting that this would be the first song to exemplify an issue that many fans have with this album in that 2D/Albarn's voice takes a backseat on this album, allowing his plethora of collaborators to take center stage. Now while this is not new grounds for Gorillaz. It certainly occurs a lot more than usual on this record that Albarn is almost completely absent. But let's move on!
2.) Strobelite (feat. Peven Everett)
Strobelite is a wicked 80's soul throwback track that I frankly enjoyed a lot more than some of the other tracks on this record. I think this track compared to others on Humanz comes across a tad bit more organically and pushes for that dance party at the end of the world vibe appropriately. Its melancholic lyrics and electronic flow harmonize well. If I had anything to say about this track in a negative light it would simply be that people might be turned off by Albarn's apparent absence again. 2D/Albarn does have one moment at the 3 minute mark in which he does lend a minuscule vocal contribution. However, it is a bit with no actual lyrics sung. I don't think 2D is necessary for making this track work, but it may be an issue for some. To be fair though, if you played me this track and didn't tell me it was a Gorillaz track, I honestly would not have known. Nevertheless, this was personally one of the more enjoyable tracks of the record. Everett does a fantastic job and I hope to learn more about him in the coming days.
3.) Saturnz Barz (feat. Popcaan)
This track being one the main hit singles of the album was a song that I was initially turned off by. It was strange and the auto-tuned vocals were a turn off initially. However, with multiple listens I've come to love this track. It's stylistically divergent from past Gorillaz tracks in a good way. In interviews, Albarn admitted this is one of the most personal songs that Popcaan has ever sung in his entire career. To that end, I think it's humbling and cool that Popcaan was willing to sing a little bit about his harsh upbringings in his younger days. Anyways, 2D actually gets to sing in this track and I think his voice combines in a pleasing way with that of Popcaan's. It's a pseudo, hybrid low-fi, indie track that lends to one of the more interesting listens on this record. All in all, I'd side with Saturnz Barz being an effective lead single for this record.
4.) Momentz (feat. De La Soul)
Here is a track that has disappointed me on many levels. I honestly find this track to be quite the embarrassment for Albarn and Gorillaz as a whole. De La Soul has been a frequent collaborator with Gorillaz bringing us awesome tracks such as 'Feel Good Inc' and 'Super Fast Jellyfish.' Seeing their name on the list of collaborators when Humanz was announced frankly made me excited. I couldn't wait to hear the iconic duo back again for another round of fun. What we received was a track encumbered in questionable decisions and ill thought out ventures. To quote a good friend of mine: "I can't believe we now have a Gorillaz track about getting a girl wet." Putting the stupid themes of the lyrics on this track aside, I can't help but feel that this track is downright annoying. The instrumentals on this one are terrible! An annoying blast beat haunts the background of this track to horrendous proportions. The loop based synth work also doesn't help in bolstering this one to any more of an enjoyable listening experience. Not to mention the vocal approach to this record seemed to have been: "Let 2D say some nonsensical line in the background, have Noodle come in randomly to repeat an ill articulated line over and over again, and have De La Soul go at it at their weakest." Maybe I'm being harsh, but I simply cannot find anything to love about this particular track. This was a big a disappointment and frankly a complete waste of talent for De La Soul. One would postulate that this is a track simply catering to the dance party at the end of the world schema. But even to that end, the disparate elements that make up this track's framework simply don't lend to a strong inclusion of that schema. at all.
5.) Submission (feat. Danny Brown and Kelela)
Submission is yet another track lending to the whole 2D/Albarn being absent thing. They are nowhere to be seen but I digress. Overall, the track is a simple loop based, bass-centric track that does little to deviate from the main melody. I do think Kelela's vocals are beautiful but I don't know who in their right mind thought Danny Brown's bit was simply a good idea. Granted I'm biased in that I've never particularity enjoyed Brown's music, but I simply thought he kills the vibe trying to be built on this track. I'm all for songs having variation, but Danny Brown was not the right collaborative choice on this track. Not feeling this one overall.
6.) Charger (feat. Grace Jones)
'Charger' is the equivalent of 'Punk' from the Self Titled record or 'White Light' off Demon Days stylistically. And wait is that 2D's voice I hear actually singing on this one? And there's a guitar loop kind of like Noodle is actually playing on this one? All joking aside, while it's cool to see 2D/Albarn lead a track again, it's not a particularly good one. By this point in the record its quite apparent that Albarn has committed heavily to a primarily loop based instrumental approach to this record. And while we've had loop based Gorillaz tracks in quantities in the past, it almost feels lackluster and hum drum to wholeheartedly succumb to main stream pop's approach so late in this iconic project's career. 'Charger' is a rather bland track centered around a robotic Grace Jones who doesn't really get to shine on this one. 2D's vocal hook is even annoying for me personally. The jagged, repetitive singing of the title is just strange and once again ill-conceived. But again, I can't help but wonder if my criticisms lose merit as these tracks are trying to cater to the concept that this album is trying ever so hard to drive. Well let's keep going shall we?
Andromeda is a track I very much love. It has a cool 80's dance, space vibe and lyrically hearkens to all the people that Albarn has been privileged to meet and work with in his life. Via interviews, he claimed he was trying to channel the dance vibes of Michael Jackson and Hall and Oates; and this is certainly felt and heard here. It is honestly at this point of the record that I can't help but ask where is this album that we didn't get? But alas, I don't always get what I want. Anyways, I love this track but if I were to offer any criticism it would be the under usage of D.R.A.M. His vocal contribution is circumscribed and almost dull. There is an interview on Yotube that reveals that there is a version of the song in which D.R.A.M. did in fact have more of a presence on this track, but for whatever reason it was scrapped. Hopefully we will get it as a B-Side some day.
8.) Busted and Blue
This is the one song on the record that is a solo effort on Gorillaz' part. There are no collaborators and 2D is finally given the opportunity to take center stage to blow everyone away. It's a low-fi minimalist song that is graced with that beautiful Albran timbre. This song goes for that slow burn vibe especially when the ethereal backing vocals come in. I don't have any particular problems with this song. I think it serves its purpose and almost makes me wish there were more tracks lead by Albarn in this way. Nevertheless, solid track that may not appeal not to everyone.
9.) Carnival (feat. Anthony Hamilton)
'Carnival' shares qualities with 'Strobelite' being another electro soul song. 2D goes away on this one and allows Hamilton to be the sole vocal presence here. This one strides towards being a tad boring for me personally. However, I don't think it's a bad track by any means. Just a little stylistically lackluster. Another track that I feel I would never have known was Gorillaz unless you had actually told me.
10.) Let Me Out (feat. Mavis Staples and Pusha T)
'Let Me Out' is a song that I typically would not listen to. However if the past is any indicator of the present, Gorillaz seems to be one of those groups that with enough listens, particular tracks become better. This track has a lot more colorful variation and I can appreciate it. It has a charming beat with lyrics threading that racial issues theme that makes it all the more relatable for 2017. Both Staples and Pusha do a great job and I think this track is definitely more of a grower.
No.....
If this song was meant to be funny and not taken seriously. It succeeds. Not a big fan at all.
12.) She's My Collar (feat. Kali Uchis)
This track is another loop based soul-centered groove track. While the compositional work isn't anything too crazy on this one, I do think this a good track. 2D's vocals play off the lovely Kali Uchis well. There's a stirring seductive tone to this one and I feel it's another grower. After the 6th listen I find it looming more and more in my mind. Overall a nice little diddy that may be lost on some.
I'm now a big fan of Benjamin Clementine's poetry and music. I think he's a really fantastic artist and I can't thank Gorillaz enough for introducing me to him. That being said, this particular track in which he is featured, initially rubbed me the wrong way. This track was the first taste that fans got of this new album. It was released early as a response to Donald Trump's victory in the American election. At first, I was perplexed by it not truly understanding how to react to it. It was drastically different from past Gorillaz releases and it initially made me scared for what was to come of new Gorillaz material. However, this song is one of my favorites off this record. This song doesn't allow Clementine to sing in his usual style. Instead they opted for a Negro-spiritual haunting vibe preaching to the good people of the end of days and what was to come. However, now listening to this song in the context of this album, it is incredible and taking on new life. It's a track that bears with it the message that we are all humans undergoing the same ordeals. To this end, we should come together and see past our vices and sinful yearnings. Clementine comes across as truly authentic in his vocal delivery and it works having 2D in the background. Really liked this one and if you take anything away from this review, I hope I turn you onto to Clementine's fantastic music. Check it out below:
14.) We Got the Power (feat. Jenny Beth)
This track is yet another embarrassing inclusion that holds back this record. As the ending track, I understand what Albarn was trying to go for, but its simply weak and horribly approached. Put simply, the track has some of the most laughably bad Gorillaz lyrics I've ever seen. Seriously go look up the lyrics on this one. Anyways, there's just a lack of authenticity and I can't help but feel that this is Albarn at his weakest. The song is simply stale with no sense of bravado or impressive elements. Jenny Beth's vocal contributions are laughably minuscule lacking no impact at all. It serves the purpose of fulfilling that concept this album is striving for again, but just does it in a way that is a huge miss. It's a shame and I feel this track could've been so much more. I'm just not feeling it.
So what can we extrapolate from all of this? You probably think I hate this album huh? I don't hate it...but I see some distance from loving it. This album just feels like the tip of the iceberg. For me it feels like there's just so much that could've been explored on this record. There's so much more room for panache and flare. I don't want to sound like a completely biased fan who can't flow with the changing landscape of Gorillaz' sound. But this record feels at times far removed from what I would want to hear on a Gorillaz record. I personally feel a lot of mediocre thought processes occurring on Humanz. Hell, I can almost envision Damon being bored in a coffee shop making loops on his computer. As for the band's world outside the album in Jamie Hewlett's realm of art and world building, there's a still a lot of joy to be had on these characters. I have no criticisms whatsoever with the art and world of the characters. But the musical side leaves some room for skepticism and concern.
Again I'd like to approach the question, how many collaborators is too many collaborators? At times, this record feels like a playlist of sorts advertising numerous artists and not an authentic Gorillaz experience. It's not to say that is the case for the entirety of the record, I just feel this way more often than I would've liked to listening to Humanz. Giving your music to other artists has always been a personal red flag for me and I can't help but question where is that melancholic, genre bending force that makes Gorillaz so special now? Is there perhaps too many guest artists on this record that doesn't allow for this magic to come through? At times I feel the answer is a definitive yes. But even now, as I write this I feel conflicted.
All in all, as of right now...this is an album I have to pick apart to like. Is that a good thing? Well, I still don't have a clear answer for that. If anything, this is the first time I have felt challenged by a Gorillaz release. I'm hoping with time, I will grow to appreciate this record more and more. At the very least I hope that with the next album Albarn's presence can be felt a little more. Do I think he's necessary for a successful album? To a degree, yes. I just can't help but feel that I can't imagine these cooky characters I grew up with and loved for years now actually playing this music anymore. The idea that a cartoon band was playing the music in my mind was a thrilling and charming concept. But there presence is not felt musically and I don't know if that's bad thing or that I'm putting way too much emphasis on my past experiences. Nevertheless, I humbly leave my thoughts open for the time being. With the announcement of an upcoming television series for the band and more new music to come, I hope for the group to recapture some of that magic that made me fall in love all those years before. I cannot rate the record at this time but it is not my favorite. As of right now my personal album ranking would look something like this: 1.) Plastic Beach 2.) Self Titled 3.) Demon Days 4.) Humanz
Anyways, I know this has been a long piece and I thank each and every one of you if you have read up to this point. Thank you so much and have a wonderful day.
-Nights Off
