Consequently, its enjoyment is based upon the ambiance initiated from the outset and maintained throughout. Plastic Beach, conversely, is a single, unified piece. It was a cacophony of flavors from which to choose it was a buffet of sound. That record’s amusement owes its existence to the multitude of genres attempted. It’s fun but not in the way that Gorillaz was. This is music meant to help you sit back and groove. And since the issues discussed here are, let’s say mellower, than terrorism, the music must also follow suit. Thus, we have the obviously titled Plastic Beach, a name that doubles both as an environmental cry and a synonym for America. This, in turn, has allowed him to focus his energy on other topics. Yes, terrorism is still an issue – as are the multiple wars being waged (supposedly) because of it – but the initial shock of it has worn off and the fog of this monolithic singularity has cleared. So, he swapped one problem for another – commercialism and environmentalism for terrorism and war. Yes, the world is still fucked up in the eyes of Damon Albarn but it isn’t worth constantly worrying about it. This time, the reaction comes from a change in the worldview. Now we arrive at the newest Gorillaz offering, Plastic Beach, a reaction to the reaction.

Its follow-up, Demon Days, was a reaction to all of the post-9/11 fallout, a record so full of wonderfully hyperbolic paranoia that it almost strangled the hope out of you. It appears that the the self-titled debut of Gorillaz was the induction of the 21st Century into the popular culture, ya know before all that nasty terrorism and war stuff.

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