Gorillaz
– Demon Days
Gorillaz’s Demon Days is a haunted carnival ride through the early 21st century’s collective anxiety. Damon Albarn, shedding his Blur skin, teams up with Danger Mouse to craft a sonic landscape where hip-hop, dub, and rock collide in a dystopian dance. It’s as if the world’s end is nigh, but there’s still time for one last groove.
Best of…
From the opening track, “Last Living Souls,” the album sets a tone of eerie introspection, leading listeners through themes of environmental decay and societal unrest. “Feel Good Inc.” juxtaposes infectious beats with a critique of superficial happiness, while “El Mañana” offers a melancholic reflection on lost utopias. The album’s narrative arc, culminating in “Demon Days,” suggests a journey through darkness towards a glimmer of hope.
What makes Demon Days stand out is its ability to blend disparate elements into a cohesive whole. The use of guest artists like De La Soul and MF DOOM adds depth and variety, while the production maintains a consistent atmosphere. The album doesn’t shy away from complexity, inviting listeners to engage with its layered messages and sounds.
While some critics have noted moments where the album’s ambition may outpace its execution, the overall impact remains significant. As noted by Pitchfork, the album features singles stronger than anything released under the Blur banner since their heyday . Its influence can be seen in the works of artists who blend visual art, narrative, and music into unified experiences.
Choice Tracks
On Gorillaz – Demon Days, while the album draws heavily from hip-hop, electronica, dub, and trip-hop, a few tracks lean more clearly into alternative rock. These songs blend guitar-driven arrangements, melancholic melodies, and alt-rock sensibilities with the band’s signature eclecticism:
Kids with Guns
This one rides a hypnotic bassline and slow-burning rhythm. There’s a subtle aggression underneath its laid-back exterior, with moody guitars and whispered vocals that flirt with post-punk and alt-rock minimalism. It’s understated but packs a punch in its messaging and delivery.
Dirty Harry
Although it features a children’s choir and hip-hop elements, the track’s grinding bassline, gritty instrumentation, and Albarn’s raw vocal tone give it an alt-rock edge. The contrast between the sunny chorus and the song’s political bite evokes the best of early 2000s protest-rock energy.
El Mañana
Dreamy, melancholic, and guitar-laced, this is arguably the most alternative rock song on the album. Its soft, swirling textures and slow, wistful vocals are drenched in shoegaze vibes, evoking bands like Radiohead or early Coldplay with a more cinematic twist.
Demon Days
The title track closes the album with a slow, orchestral rock feel. Its somber tone, haunting harmony, and repetitive build mirror some of the more introspective corners of alternative rock. It’s not loud or guitar-heavy, but it resonates with that emotional density.
Tracks like “Feel Good Inc.” and “DARE” might have rock in their DNA but skew more toward funk, dance, and hip-hop fusion. Meanwhile, songs like “Every Planet We Reach Is Dead” include experimental guitar solos (by Ike Turner, no less) that teeter on alt-rock psychedelia but still refuse to be boxed in.