The Mouse with a Midas Touch or the Man with Four Brains?

Gorillaz
Demon Days (Virgin)

For a band who only exists in the animated universe, Gorillaz sure know how to appoint a spokesperson. Blur frontman Damon Albarn's pet project (with artwork and visual concept by Jamie C. Hewlett) over the last 5 years has garnered mix reviews and even more mixed results. Nonetheless, Albarn continues to be a stalwart figurehead for the group's rock-hop machine.

But is that it? Is it all Albarn or are there higher powers at work? On Gorillaz' sophomore release Demon Days, it's becoming more and more clear that Albarn might just be the pretty face (and oh my is it handsome). Like Zaphod Beeblebrox, he might just be a front for much more intricately precise geniuses to work their magic and hardworking artisans to get shit done. I'm talking about the guy in the fuzzy suit: Danger Mouse.

Following the amazing production of The Grey Album and Ghetto Pop Life (with partner Jemini), Danger Mouse replaces quasi-slumping producer Dan the Automator whose track record of awe-inspiring beats have been followed by mediocrity, disappointment and inaccountability. The glass slipper fits perfectly as Danger Mouse's production gives Albarn exactly what he's looking for: cartoonish style, sci-fi funk and extreme bounceability.

This is not to say that Albarn is sitting on his hands. It is quite clear it is his brainchild. Not only is he the idea man, but he lends his voice quite well to the gripping production. Afterall, Danger Mouse might execute with the sharpest of axes, but someone's gotta order the sentence. The (possible) Eno homage "O Green World", though seemingly mashed together somewhat haphazardly, is a perfect example of two collaborators working as one monster. Danger lays down the thump and funk while Albarn wails over a "Beetlebum"-esque guitar riff.

Please excuse me. How silly of me to start off with a confused track! It must be backwards day or something! What I failed to mention from the get-go is that Demon Days is layered and multi-functional, as much backpacking music as it is club ready. Among the dancier tracks, "Dare" has Happy Mondays' and Black Grape's Shaun Ryder leading a discotheque wave of bleeping synths and clicky percussion. "Dirty Harry" reprises a Gorillaz' fascination with Clint Eastwood, with 70s funk laced dub and fantastic mixing of the San Fernandez Youth Choir that leads into Danger Mouse's familiar whirling romantic symphonic strings, backing Bootie Brown frentic rhyme. "Feel Good Inc." manically switches from some serious sinister bounce to Spanish guitar-fueled latin rhythms. Despite a Posdunos-less De La Soul cameo, the track deserves to be an iPod promoter. And I mean that in most genuinely positive way.

Danger Mouse and Albarn also flex their down down-tempo muscle with the sweeping orchetral stylings of "El Manana" and the blip-pop of "Last Living Souls". But the trophy goes to who else? Metal Fingers. On "Novemeber Has Come", MF Doom lends his raspy baritone drawl to an array of handclaps, electro-keys and doo-wop backing vocals. Doom drops a couple vintage pun-filled verses on one of the chillest tracks of a generally ass-shaking record. It serves as the vanilla ice cream to a warm slice of apple pie.

There are some tracks that chug along sluggishly ("Kids With Guns" to name one) and some that miss the mark slightly. The use of the London Community Gospel Choir is at times inspired and at other times wasteful. And the campy spoken word of Dennis Hopper on "Fire Coming Out of the Monkey's Head" may be a little over-the-top. Though in its defense, it pairs extremely well with synth-bass heavy sci-fi soul, with a plinking electric piano so worthy of the Dr. Dre signature.

The record stands as an excellent mix of entertaining comic book texture, groove-worthy beats and complex production of futuristic guitar-independent rock and roll. So in the end, it doesn't matter whether its a Danger Mouse-fueled Albarn vehicle or the other way around. I'll just let those animated fuckers (roll call: Murdoc Nicalls, 2D, Noodles, Russel Hobbs) keep do their thing, while I contemplate the pyschological problems that might arise with obsessing over a band that doesn't really exist.

Gorillaz: http://www.gorillaz.com
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