QR Music Review: Gorillaz - The Now Now
What is perhaps the most interesting thing about Gorillaz is that they seem to exist almost exclusively in the realm of the expected unexpected. After releasing the critically acclaimedHumanz last year, nobody was anticipating nor expecting a new album. Yet, I somehow find myself completely unfazed by the idea that Gorillaz not only had another album in the works but that they released it while touring their newest. Still, one can't help but notice that these albums would have worked better as a single release as opposed to two separate ones. 'The Now Now' has high points, but it feels somewhat rushed and suffers from feelings of inadequacy and reluctance; as if Damon Albarn himself is unsure of how much he wishes to share.
Still, The Now Now is not without its pleasures. Human represented a break from the norm, if such a thing as the ‘norm’ exists for Gorillaz in that it was experimentally out there in lyrical, production and conceptual manners, but The Now Now combines the better elements of Humanz (Albarn's agonising and occasionally distressing lyrics, plus the elements of space rock) with the dreamy fusion of alt-rock, trip-hop and rap that built the Gorillaz name. Discrepancies are noticeable, but far enough apart that they are forgivable. If Humanz was Albarn opening up, The Now Now is an experiment in soul-bearing. Dealing with disillusionment with his career and media, abandonment, loneliness, introspection and the difficult process of righting your own ship, The Now Now will disturb the comfortable and comfort the disturbed.
For instance, lead single 'Humility' is a warm, buoyant number with floaty rhythmic beats. Almost trance-like in its ease with honey-smooth, trip beats, it is also a song filled with agitated contradictions. The funk has strong juxtapositions between the lyrics which breach the subject of hesitation and self-doubt, while the shrill beat works as a conductive high point in conjunction with the lo-fi vocals.
Further elements of the can be found in the marching synth heavy flow of 'Hollywood'. One of only two songs to feature other artists (Snoop Dogg and Jamie Principle), the G-Funk beat melds with the quixotic synth beats to create a trip hop/80’s house number that sounds like the brainchild of Dr Dre and Kanye West. Not without its darkness however, as Albarn's verbal musings on the hypocrisy and deceptive glamour of the celebrity lifestyle and modern life ("Hollywood is alright… Jealousy and dark times, Sinking on the web, There’s more to love than that…") gives an air of apocalypse; a boogie for the end of the world. Not to be outdone however comes 'Kansas', a vintage Gorilla bop with chunky electronic bass lines and tripped out vocals. The spaced out, fear-tinged vibe hammers home the aura that caused so many to fall in love with Gorillaz off-kilter character in the first place.
With this being said, there are numerous gripes. As mentioned earlier, the hesitancy in Albarn’s writing is noticeable and off-putting in ways that do not endear fans, but alienate them instead. Additionally, there is a three-song stretch ('Sorcererz', 'Idaho', 'Lake Zurich') which is all filler, no killer. I appreciate the shock value and gall to put out another album mid-tour, but'The Now Now' only suffers from this block of songs, which feel entirely like uninspired stuffing on an album that would have been too short otherwise. I mean, an instrumental? in 2018? are we really still doing this AND charging people for it?
A fairly middle of the road album with no clear direction but some fantastic stand out moments in the singles. Introspective and deep but lacking in the consistency that Albarn is known for,'The Now Now' feels enjoyable, but it could have been 10 times better. A noble attempt that most fans should enjoy, but will test the limits of others.
By Benjamin Magee