Gorillaz - Song Machine, Season One: Strange Timez

Gorillaz Song Machine, Season One: Strange Timez is a much welcomed addition to the discography of the world's most famous virtual band that successfully presents strong melodic songs with a collaborative mosaic approach, which utilizes a variety of influences and feels new.  

Gorillaz is a virtual band created in 1998 by Blur front man Damon Albarn and cartoonist Jamie Hewlett, but now also includes Remi Kabaka Jr. The band members of this creation include  four cartoon individuals Russel Hobbs (drummer), Noodle (guitarist), Murdoc Niccals (bassist) and Stuart ‘2-D” Pot (vocalist). 

However, it is important to note that it is typical for each album of the band to feature a distinct producer that assists in directing the musical soundscape of the album.  This distinct direction is clearly evident in the exceptional debut album “The Gorillaz", and their subsequent classic “Demon Dayz”.

It is also typical for each Gorillaz project to feature a unifying theme or concept, which ties each of the tracks together under this cohesive element or feeling. What is unique for this approach for this album, is that the unifying theme and concept is that each song is made under the premise that it all comes from one song machine, and that there is no thematic connection with the other songs, except for the fact that it comes from the same machine.  A possible poetic analysis and  commentary on the current state of the music industry. 

'The machine' kicks of strong with the opener Strange Timez featuring the iconic Robert Smith displaying his signature voice over a gothic/eerie but art pop/rock instrumental, with a melody that captures the existential angst of current times.  Successfully setting the stage and mood for what is to come, with an eclectic transition into a unique rhythm that starts off funky, but becomes stale near the end and not nearly as engaging as the intro.  

Beck’s contribution also does not hit the same melodic pocket as Smith’s, and this comparison is also true for the collaboration on track 6, where Elton John’s melody is surprisingly outshined by newcomer 6lack.  

Each song is a case of the band staying in a limbo pop archetype that does not fit with the forwardness of the overall instrumentation, which consistently feels new. Instead it is weighed down by these weird pop choruses that just feel like it came from a different song machine altogether (a shit machine). Prime example being the fifth track Chalk Tablet Towers featuring music virtuoso St. Vincent, who just sounds like she composed the chorus right after listening to a kids bop CD.

Although this is not to say that there are moments where the collaborators don’t completely elevate the song like in Aries, which features Peter Hook. Honestly, in my opinion the best song on the album along with Desolé. Both records demonstrate a band fully in sync with their collaborators that are both dedicated to elevating each other with harmonies that uplift your mood. The instrumentation on both leave me dazed and happily bumping my head in any location and direction, displaying the beauty of the grooves.

  

I confess, it is this free flow of content and premise that initially made me weary of the potential quality of the songs. But I can say that aside from a few missteps by the collaborators, some awkward transitions and the lack of consistent strong vocal melodies, the end result is still really good.

Rating: 7.5

Favourite Songs: Pac Man, Aries, Friday 13^th,  & Desolé

Least Favourite: The Pink Phantom, The Valley of Pagans, and Chalk Tablet Towers