Gorillaz - Demon Days
Product Information
Track List: Demon Days
Click on or song title to hear an audio clip. Windows Media player is required.
- IntroDownload & Buy
- Last Living SoulsDownload & Buy
- Kids With GunsDownload & Buy
- O Green WorldDownload & Buy
- Dirty HarryDownload & Buy
- Feel Good Inc (Album Crossfade)Download & Buy
- El MañanaDownload & Buy
- Every Planet We Reach Is DeadDownload & Buy
- November Has ComeDownload & Buy
- All AloneDownload & Buy
- White LightDownload & Buy
- DAREDownload & Buy
- Fire Coming Out Of The Monkey's HeadDownload & Buy
- Don't Get Lost In HeavenDownload & Buy
- Demon DaysDownload & Buy
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Album Details: Demon Days
- Release Date:
- 05/24/2005
- Label:
- Toshiba Emi Japan
- UPC:
- 4988006828933
User Reviews: Demon Days
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A story and a beat
, March 5, 2006Reviewer: nox_plague - See all nox_plague's reviews -
Creative, well balanced, flows from song to song
, June 5, 2007Reviewer: Nông Dzân - See all Nông Dzân's reviewsPros: Hay
Cons: Tuyet
I love the intrumental use the vocals are out there and even tho it dint have lyrics on the booklet they have a cool pic for each song.Songs like feel good inc, dare,o green world..totally rockin and danceble too!u cant resist it their music and their mix of other genres like rap is facinating.They totally prove making music aint all about ur face and looks.
read all (13) user reviews for Demon Days
Pro Reviews: Demon Days
| EXPERT RATING: From AMG Reviews 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 longawaited 2005 sequel, Demon Days. Hewlett still provides new animation for Gorillaz although the proposed featurelength film has long disappeared but Dan the Automator is gone, leaving Albarn as the unquestioned leader of the group. 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. No, Gorillaz were always designed as a collective, featuring many contributors and producers, all shepherded by Albarn, the songwriter, mastermind, and ringleader. 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. 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. 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. But 2005 is a much different year than 2001, and if Gorillaz exuded the heady, optimistic, futureforward vibes of the turn of the millennium, Demon Days is as theatrically foreboding as its title, one of the few pop records made since 9/11 that captures the eerie unease of living in the 21st century. Not really a cartoony feel, in other words, but Gorillaz indulged in doom and gloom from their very first single, "Clint Eastwood," so this is not unfamiliar territory, nor is it all that dissimilar from the turgid moodiness of Blur's 2003 Think Tank. 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. Demon Days is unified and purposeful in a way Albarn's music hasn't been since The Great Escape, possessing a cinematic scope and a narrative flow, as the curtain unveils to the ominous, morose "Last Living Souls" and then twists and winds through valleys, detours, and wrong paths some light, some teeming with dread before ending up at the haltingly hopeful title track. 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). 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. Chief among the strengths that Albarn relies upon is his ability to find collaborators who can articulate his ideas clearly and vividly. Danger Mouse, whose Grey Album mashup of the Beatles and JayZ was an underground sensation in 2004, gives this music an elasticity and creeping darkness than infects even such purportedly lighthearted moments as "Feel Good Inc." It's a sense of menace that's reminiscent of prime Happy Mondays, so it shouldn't be a surprise that one of the highlights of Demon Days is Shaun Ryder's cameo on the tight, deceptively catchy "Dare." Over a tightly wound four minutes, "Dare" exploits Ryder's iconic Mancunian thug persona within territory that belongs to the Gorillaz its percolating beat not too far removed from "19/2000" and that's what makes it a perfect distillation of Demon Days: by letting other musicians take center stage and by sharing credit with Danger Mouse, Damon Albarn has created an allegedly anonymous platform whose genius ultimately and quite clearly belongs to him alone. 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. And he has created a monster album here not just in its size, but in its Frankenstein construction. 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. 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. - Stephen Thomas Erlewine, All Music Guide |
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Gorillaz Biography
Conceived as the first virtual hip-hop group, Gorillaz blends the musical talents of Dan "The Automator" Nakamura, Blur's Damon Albarn, Cibo Matto's Miho Hatori, and the Tom Tom Club's Tina Weymouth and Chris Frantz with the arresting visuals of Jami...Full Gorillaz Biography
-- ©2008 All Media Guide, LLC
Pros: Creative, well balanced, flows from song to song
Cons: Appeals to the electronic crowd even though it contains much much more
This time around the producers brought a new artist to make the "make believe" band more believable. Don Harper worked on a project called the "Grey Album", in which he mixed J-Zay's Black Album with The Beatles White Album. The new style is obvious when you compare Demon Days to the original self-titled release. In the previous album songs were great, but they felt very disconnected and without a common theme. Here that disconnected/disjointedness that made the original less than perfect is gone. The songs flow from one great track to the next. Also a nice added flare is the story the album paints as a whole. A sort of close apocalypse world where everything is going down the darin, and then an anwser to the problem (lyrics from the last track "turn to the soul"). My only problem is that the pop-hits will turn away some listeners or keep people from taking the album seriously. A great listen and a great message.
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