(EMI)

Hey hey, we’re the Gorillaz (still)

There are two introductions as you dock on Plastic Beach: a cinematic orchestral piece and Snoop Dogg rapping. He’s no Del or De La and referencing his latest album while introducing someone else’s is the kind of egotism only Snoop could pull off. Thank God for White Flag, which combines a Lebanese orchestra with grime rappers – this is a better intro to what Plastic Beach is all about, making unusual combinations work together as if it’s the most natural thing in the world. We’re three tracks in now and Damon Albarn’s voice has only been heard distantly, but when he takes lead he sounds even more bored than his laconic cartoon counterpart usually does, as if he really has been abducted and forced to take part. Even ignoring that, Stylo’s an odd choice for lead single, a grower that doesn’t have a chorus (and a name that’s doesn’t reference Clint Eastwood). Superfast Jellyfish, a food-themed hip hop track with De La Soul that sounds like a bonus cut from Ugly Duckling’s Taste The Secret, seems more like the catchy, quirky pop track to drag you in. You can practically see the video when you’re listening. Mark E. Smith is Plastic Beach’s Shaun Ryder, the aged legend brought in for a senility ramble with a funky beat – he begins by slurring, “Where’s north from here?” as apparently he likes to face north when recording. Lou Reed narrowly avoids falling into the same trap, sounding in on the gag in his appearance. Other guests hold their own, especially Yukimi Nagano, duetting with Albarn in To Binge. Sandwiched between these moments of greatness is more of Albarn sounding a bit tired of it all. Plastic Beach is still very good, but very good is a slight step down for a Gorillaz album.

***½  

JODY MACGREGOR

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