Gorillaz also promised to go on a holographic world tour in 2007 and 2008 the cartoon members were supposed to be shown as holograms on stage. It was sold over 7 million copies and earned Gorillaz an entry in the Guinness Book of Records as the Most Successful Virtual Band. His friend Jamie Hewlett, co-creator of the comic book Tank Girl, promised to help Albarn — that is how four pictured members of Gorillaz appeared. This trio had previously worked together on the song Time Keeps on Slipping, which became the predecessor of Gorillaz' music. All the themes and ideas on this album have antecedents in his previous work, but surrounded by new collaborators, he's able to present them in a fresh, exciting way. Soon after Gorillaz, a compilation of the B-sides from the first three singles, G-Sides, was released. It was followed by Laika Come Home, a remix album, containing most of the tracks from Gorillaz reworked by Spacemonkeyz, was released in June 2002.
. This isn't quite similar to Blur, a genuine band that faltered after Graham Coxon decided he had enough, leaving Damon behind to construct the muddled Think Tank largely on his own. It not only eclipses the first Gorillaz album, which in itself was a terrific record, but stands alongside the best Blur albums, providing a tonal touchstone for this decade the way Parklife did for the '90s. Throughout his career, Albarn always was at his best when writing in character -- to the extent that anytime he wrote confessionals in Blur, they sounded stagy -- and Gorillaz not only gave him an ideal platform, it liberated him, giving him the opportunity to try things he couldn't within the increasingly dour confines of Blur. In 2010 Gorillaz made their fans happy: the long-awaited album Plastic Beach was finally issued.
And he has created a monster album here -- not just in its size, but in its Frankenstein construction. Gorillaz' first single, Clint Eastwood, was released on March 5, 2001. In 2010 Gorillaz made their fans happy: the long-awaited album Plastic Beach was finally issued. But where Albarn seemed simultaneously constrained and adrift on that last Blur album -- attempting to create indie rock, yet unsure how since messiness contradicts his tightly wound artistic impulses -- he's assured and masterful on Demon Days, regaining his flair for grand gestures that served him so well at the height of Britpop, yet tempering his tendency to overreach by keeping the music lean and evocative through his enlistment of electronica maverick Danger Mouse as producer. No, Gorillaz were always designed as a collective, featuring many contributors and producers, all shepherded by Albarn, the songwriter, mastermind, and ringleader. Albarn said he never expexted that everything would go so far.
Gorillaz's frontmen 2D is Albarn's compatriot and, apart of singing, he has an interest in machinery. Cartoon clips became another Gorillaz' trademark. Chief among the strengths that Albarn relies upon is his ability to find collaborators who can articulate his ideas clearly and vividly. It wasn't just that the cartoon concept made for light music -- on the first Gorillaz album, Damon sounded as if he were having fun for the first time since Parklife. Damon Albarn went to great pains to explain that the first Gorillaz album was a collaboration between him, cartoonist Jamie Hewlett, and producer Dan the Automator, but any sort of pretense to having the virtual pop group seem like a genuine collaborative band was thrown out the window for the group's long-awaited 2005 sequel, Demon Days.
Instead of sounding like musical crutches, this sounds like an artist who knows his strengths and uses them as an anchor so he can go off and explore new worlds. For example, band's drummer Russel Hobbs was a respectful child from the School for Young Achievers, but then a demon possessed him and he mauled several other students. Everything began when Damon Albarn, the leader of britpop band Blur decided to realese some songs in mock hip-hop style, but not under his own name. Hiding behind Hewlett's excellent cartoons gave Albarn the freedom to indulge himself, but it also gave him focus since it tied him to a specific concept. Later that same month, their first full-length album, the self-titled Gorillaz, was released. For each Gorillaz member Albarn and Hewlett composed a full biography. It became a smash hit and put Gorillaz into the global spotlight.
They usually contain humorous and often ridiculous storylines and imagery. Later, Albarn was colobrating with a lot of different artists, but Gorillaz' music remained the same — slow and light tunes, a mix of alternative rock, hip hop and rap, with a large number of other influences including electronica and pop. While it won't launch a phenomenon the way that 1994 classic did -- Albarn is too much a veteran artist for that and the music is too dark and weird -- Demon Days is still one hell of a comeback for Damon Albarn, who seemed perilously close to forever disappearing into his own ego. Along the way, cameos float in and out of the slipstream and Albarn relies on several familiar tricks: the Specials are a touchstone, brooding minor key melodies haunt the album, there are some singalong refrains, while a celebrity recites a lyric this time, it's Dennis Hopper. In November 2007 new album D-Sides was realesed. But the waiting for the new album lasted for three years — Demon Days was released in May 2005.
Hewlett still provides new animation for Gorillaz -- although the proposed feature-length film has long disappeared -- but Dan the Automator is gone, leaving Albarn as the unquestioned leader of the group. . . . .
. . . . . .