Nothing 'Blur'ry about this album

n 2001, Blur's Damon Albarn realized his own band was stagnating, and decided to strike up a side project complete with cartoon mascots, a wealth of guest artists and one very inventive producer in Dan the Automator. Gorillaz, as both the album and group were known, mashed up subversively funky beats and dub-bass with mostly dispassionate and disconnected vocals, and spawned a hit ("Clint Eastwood") which actually helped the album go six times platinum. Along with other tracks like "Tomorrow Comes Today" and "Slow Country," Gorillaz proved itself to be worth more of Albarn's time than Blur, given Blur had been fizzling out ever since "Song 2" was at its "woo-hoo" peak on the charts.\nThe success of Gorillaz's debut album obviously influenced Albarn to continue the whole affair, eschewing Dan the Automator from the boards in favor of Danger Mouse, one of the hottest free-agent underground producers. Danger Mouse's presence can be felt all over the album by way of the same slow-to-mid-tempo flair he brought to last year's brilliant, copyright-busting Grey Album which mutated Jay-Z's Black Album and The Beatles' White Album into a blissful stew of pop/rap convergence.\nIn fact, other than guitar, and of course vocal stylings (still as dispassionate as ever, despite going all Chris Martin on part of "Last Living Souls"), Albarn is virtually unrecognizable on Demon Days. The songs have a decidedly more playful feel that those on Gorillaz, despite the dark, topical subject matter found throughout, but even casual listeners should credit Danger Mouse for how 90% of Demon Days casually slips its way out of their speakers. This is a record for the sort of parties where everyone sits around on the couch discussing the philosophy of Kant, yet it still works, for the most part. Keep a close eye on Danger Mouse in the future. He could blow us all away if he ever decides to release a major-label solo disc.\nGuest artist wise, Gorillaz's debut relied on virtual unknowns who brought their own personal sense of style to the sessions. Demon Days finds Albarn taking a more-traveled road in terms of guest spots. From the opening notes of the album featuring Dario Argento's "Dawn of the Dead" score, to guest raps by De La Soul, Roots Manuva and MF Doom, backing vocals by Neneh Cherry, spoken-word by an all-too-calm Dennis Hooper, and even a piano solo by Ike Turner himself on "Every Planet We Reach Is Dead," Demon Days manages to shift musical tone from track to track while still holding onto a generally haunted sound.\nDemon Days is more a showcase for Danger Mouse's ability to reign in a 15-track disc and make it gel than it is a quasi-testament to Damon Albarn's prowess as some sort of creative force. Gorillaz' debut was ultimately more immediately accessible than Demon Days (which reveals itself gradually and is a generally more difficult record), and for that reason I doubt the group's sophomore release will end up with spectacular sales. It's not hard to admit that Demon Days is a better record than Gorillaz on the whole, but I have a feeling Parlophone will be relying on Coldplay's upcoming epic to keep them financially afloat this summer.