Album review: The Fall - Gorillaz

I feel a bit unfair writing this review. Not because its scathing - on the contrary, as with most Damon Albarn releases there is plenty of interesting material here. No, its because I'm reviewing this on the same terms I would for any other record - on the music. This seems a little unfair when our favourite virtual pop group have released this material for free (on Christmas day no less) and clearly, to some extent at least, its a collection of ideas and doodles as much as it is a complete body of work.


Having said that, it doesn't lack a defining concept. While Plastic Beach told tales of environmental devistation, The Fall is built around an American road trip with titles as evocative as Phoner to Arizona, The Snake in Dallas and Bobby in Phoenix. I suspect many of these vinegettes were written in motel bedrooms of the towns they are about. Rumour has it that Albarn recorded the whole thing on an Ipad which might explain the lack of variety in backing rhythms - almost all on drum machine.


Most tracks are short and start with electro beats over the aforementioned drum machine and electro basslines (think Stylo) with Albarn singing (droning? I've never been a huge fan of his voice) over the top. The material suffers from a lack of variety in the vocal, particularly as one is used to a great range of vocal performances in a typical Gorillaz release. What this does is actually make the listener almost appreciate Gorillaz even more. You realise that over the years Albarn and Hewitt have coaxed excellent performances from everyone from Mark E Smith to Bobby Womack and that each album they have released is a coming together of some of the greatest musical talent on planet earth. Without this input this release feels a little empty and one-dimensional.


The tracks that work best are those with a hint of real instrumentation. The accoustic guitar at the beginning of Hillbilly man is quite lovely as is the use of piano in Aspen Forest - these tracks seem to have more of a heart which is lacking elsewhere. Ultimately though even these tracks revert to type with drum machine and squelchy electro bass brought back into the mix.


Albarn is clearly still listening to current sounds. The Joplin Spider has an ear-catching bass and shuddering off-kilter beats which bring to mind Flying Lotus while The Snake in Dallas has the sort of cut up R&B groove which has been used to such devistating effect by the XX and James Blake amongst others in recent months.


The subject matter is varied - a sort of state of America today sermon. The Parish of Space Dust has a slightly evangelical feel and roots us in the churches of Texas via Witicha Lineman while Little Plastic Bags might act as a metaphor for the world's only superpower itself 'they don't know where they are going.'


Detroit, as one might expect, is essentially a techno number bringing to mind the abandoned districts of America's once great car-making capital, like a number of other tracks it brings to mind Kraftwerk (that most European of acts on a concept album about America?). The track is only two minutes long though - too short to really draw you in and this leads one to wonder why Albarn has decided to release this material now. There is the making here of a very good album but the ideas clearly need refining and expanding and there is a need for more vocal input - even if only backing singers. The Fall is ultimately a frustrating release and is unlikely to be a record i'll listen to very much. A shame because one can't doubt Albarn's musical talent or his ability to capture the current zeitgiest.
 

Album review: Heligoland - Massive Attack (Virgin)

My last brush with Massive Attack was in 2006 when they played the ghastly O2 Wireless Festival in Hyde Park. They headlined that night, following the psychadelic carnival of Flaming Lips - a band who had no shame in covering Bohemian Rhapsody during their set and somehow pulling it off. By comparison the 3D led Massive were bleak. Dense guitar led songs with monotinous vocals dominated while random numbers were projected off the sides of the stage. Enjoyable it wasn't and there was a real sense that the band (collective?) had finally lost its way with the departure of Daddy G and the recently released and poorly recieved 100th Window album.

It was with some trepidation and a certain degree of indifference therefore that I approached their latest offering. There is nothing worse than a band you truly believed in delivering below par material which in some way damages their legend. Let us not forget that Massive Attack's legend is greater than most - delivering Blue Lines - perhaps the definitive album of 90's multicultural Britain and a number of subsequent albums which, while not redefining modern soul music, have at least sustained it.

Opening track Pray for Rain strikes me as an odd choice as a statement of intent. Sung by TV on the Radio's Tunde Adebimpe it is subtle and understated and lacks the impact of say Safe from Harm or Angel which opened previous long players. Having said that, at its heart is a lovely pop song and its dubby bass and jungle drums bring to mind Karmacoma which can't be such a bad thing.

Less good is Splitting the Atom, a duet between 3D and Daddy G. Its nice enough but doesn't really go anywhere. Unfortunately this is true of a number of the 3D led tunes on the album and for me the tracks with guest turns (with the exception of Martina Topley Bird's two underwhelming contributions) far outshadow the likes of Rush Minute and Atlas Air.

The Horace Andy contribution Girl I love you has a fantastic throbbing bass and would have made a good opener - it lacks the magestic sweep of say Angel but its post punky guitars could well make it a live favourite.

Its the new collaborations though which are the real highlights. Elbow's Guy Garvey sounds like a demented loner on Flat of the Blade. 'Things I've seen will chase me to the grave. I'm not good in a crowd. I've got skills I can't speak of' he mourns. The production on this track (and indeed the album as a whole) is excellent with abstract electronic beats giving way to Garvy's insane ramblings. Bettter still, and for me the stand out track on the album is Paradise Circus sung by Hope Sandoval from Mazzy Star. The obvious reference point is Mezzanin'e Teardrop but Sandovel brings enough to the track to make it her own and the strings at its outro are truly moving. Damon Albarn's contribution is more playful and wouldn't be out of place on the most recent Blur Album Think Tank. 'Do you love me' he sings - somewhat ironic given his somewhat divisive reputation.

Some of Massive Attack's best work is on Heligoland - individual tracks will stand up to repeated listenings on Ipod shuffle - and the beats, as always, have far more depth and texture than typical 'downbeat' acts. Having said that, the album as a whole feels somewhat disjointed. The guest turns make it feel more like an Unkle album than a Massive attack one and I can't help but feel that the sequencing of the tracks could be better. Heligoland doesn't see Massive reinventing their sound and is unlikely to win them new fans but with the return of Daddy G's soulful input (and wonderful cover art) they will keep their existing fans happy and in many ways that represents a step forward in itself.