All hail the Good Queen

Blur's Damon Albarn has created a new side project, and unlike the surprisingly transcendent experiment that was the Gorillaz, this new group may only be around for one shining moment. The Good, the Bad and the Queen is the improbable combination of vocalist/pianist Albarn, the Verve guitarist Simon Tong, the Clash bassist Paul Simonon and afrobeat legend Tony Allen on drums. \nIf that isn't an all-star super group lineup for you, the self-titled album is produced entirely by Danger Mouse. While the band's concept closely parallels that of the Gorillaz, there is a world of difference. As Gorillaz works tend to extend over several genres and sounds, GBQ follows a much more focused template. The Good, the Bad and the Queen is a tightly controlled alternative pop and indie rock album with a hint of neo-psychedelica.\nEach seasoned performer brings his own expertise to the work, but Danger Mouse's uncanny ability to construct beats and ambiances is what perfectly complements the other artists' talents, giving this album its character. As was the case with 2004's Demon Days, Danger Mouse shows that his DJ skills can beautifully dovetail the work of any songwriter -- even a raspy Brit-pop performer. Unlike Gorillaz works, there are no cameo appearances to be found here; GBQ is truly about the five parties involved. The album features a great deal of dark, ominous tones, accented by minor chords and a real sense of despair from Albarn's whisper. Yet it is effortlessly sprinkled with airy, esoteric piano, guitar and synthesizer parts. \nThe album opens with "History Song," a foreboding piece that sets the tone with themes of destruction and a state of delusion in post-materialist England. A waltzy organ gives the song an imbalanced, panicky quality. It is followed by "80's Life," which brings a more upbeat tone. It features a delicate doo-wop rhythm and wanders up and down with arpeggio triplets. Don't be fooled by the sweet melody, however. Albarn continues to opine on the subject of war and Armageddon. Listeners can't help but share his despondency with lyrics like, "'Cause I don't want to live a war/That got no end in our time."\n"Kingdom of Doom" enters with great pomp and garners the listener's attention from the first note. Staccato piano and guitar drives the rhythm, and Albarn's call for a change becomes increasingly frantic. Like "Kingdom of Doom," "Hurculean" is another marvelously crafted pop song. Allen and Danger Mouse crank out a snug drum beat as the synthesizer swells in and out.\nThis is an album that could have gone in many directions, but Danger Mouse pulls it all together with near flawlessness.