Album Reviews

By Guruchathram Ledchumanan and Ryan Belbin

Gorillaz Plastic Beach Parlophone Rock

B+

By Guruchathram Ledchumanan

When the Gorillaz won a British music award a few years ago, creator Damon Albarn said in his acceptance speech, “And they’re not even real!” What happens when a cartoon band becomes a real rock band?

When Damon Albarn started Gorillaz 12 years ago with his artist buddy Jamie Hewlett (Tank Girl), many felt it was just another side project for the Blur front man.

Some thought he was burnt out by Britpop from the feud with Oasis. No one could possibly know that he was just getting warmed up. Just like how Hendrix and Tupac have released more albums dead than alive, Albarn has sold more albums with Gorillaz than Blur.

I’m not sure if it’s a case of art imitating life or vice-versa. The band’s cartoon members are comprised of Noodle, 2D, and Murdoc, who are assisted by guest stars Snoop Dogg, De La Soul, Mick Jones (The Clash) and more.

On their third great album in a row, Albarn does almost everything other than sing the guest singer’s part. He wrote, produced, sung, and played most of the instruments.

On the track “Stylo,” he gets rapper Mos Def and soul man Bobby Womack to roll along on this low rider of a tune. Bruce Willis stars in the video. This album is less pop than their previous work. There isn’t a dance song that goes for the jugular the way that “Feel Good Inc.” or “19-2000” did.

The album’s MVP guest star is Lou Reed on “Some Kind Of Nature” where he sings, “Man, I love plastic and digital foil.” There would be no Blur or Britpop without the deadpan New York proto-punk of The Velvet Underground. Another torch has been passed. Gorillaz are even better than the real thing.

Séan McCann Lullabies For Bloodshot Eyes Lean Ground Music Folk Rock A

By Ryan Belbin

Bloodshot eyes are signs of late nights soaked in gin and heartache, and Séan McCann’s daring collection of acoustic songs resonates to the beat of a battered soul that has seen the bleakest stretch of humanity and emerged on the other side.

A founding member of Newfoundland group Great Big Sea, McCann’s original, introspective tunes have long been overshadowed by the band’s radio-friendly pop songs and sea shanties. On this album, his humility and emotions are fully revealed; this is not a Great Big Sea record, but it’s not a digression for McCann either.

Lullabies For Bloodshot Eyes can best be described as a retrospective portrait at a significant crossroad of life. Heralded by his new role as a father and husband, McCann scrutinizes his life – both past and future – in a disarmingly candid way.

“Wasted” and “Hold Me Steady” present the realities of alcoholism, with which McCann publicly struggled, while “Gone Tomorrow” is an ode to the inevitability of mortality. There’s a strong indication, with two songs – “Somewhere” and “Don’t Cry” – dedicated to his sons, and “Wish” an elegiac tribute to his wife, of the maturity of a re-evaluated life that is not afraid to discuss reality.

With Alan Doyle and Bob Hallett lending their musical talents to only one track, Lullabies is crafted exactly as McCann wants it. There is no “Paddy Murphy” on this album, but rather fresh arrangements skilfully orchestrated.

McCann’s gentle, yet bold voice is beautifully laced by indie songstress Jeen O’Brien’s, which adds new dimensions to songs that courageously venture into a world of responsibilities, challenges, and fears, inviting listeners along for the ride.

Great Big Sea fans will appreciate this opportunity, but Lullabies has its own identity that will inevitably be one of the strongest to emerge from this province this year.

Massive Attack Helioland Virgin Trip-Hop

B+

By Guruchathram Ledchumanan

A few weeks ago, I compiled a list of perfect Valentine’s Day breakup songs. British duo Massive Attack’s “Unfinished Sympathy” should have been on it because they’re perfectionists when it comes to instilling a creepy urban sense of dread into dance.

That’s why the producers of the TV show House chose the track “Angel” from their 1999 Mezzanine album. They sound the way beautiful nightmares feel. They can be discordant like a Phillip Glass keyboard player on strike while scoring a Tim Burton movie. They can be as soulful as Mary J. Blige singing in Frou Frou. Like the Simpsons and Beck’s Odelay, they sound old and familiar but feel fresh and new at the same time.

Their track, “Girl I Love You,” sounds like U2 bassist Larry Mullen playing with New Order while Smashing Pumpkins’ lead singer Billy Corgan pretends to be Bryan Ferry on vocals. All this happens to the sound of crickets chirping in the background. The drummer plays the one snare beat to “Billy Jean” while this is all going on.

You can save your ecstasy money and get the same feeling if you just get this record and play it with the sub-woofers turned up and the treble level turned halfway down. The track, “Pray For Rain,” sounds like a TV On The Radio remix B-side. It starts off with a David Bowie-sounding piano set to a hollow-sounding military drum roll.

An electronic hum comes in and out of the song like a mosquito in the evening. Guest stars on the album include Gorillaz’ Damon Albarn, Tunde Adebimpe, Hope Sandoval, and Martina Topley-Bird. The closing thump of their track “Atlas Air” will tickle your mind and send a shiver up your spine.

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