gorilla
Parlophone-EMI
global pop
★★★
You have to write on the credit Damon Albarn commendable ability interpret signs and point to the future. At the turn of the millennium when the Blur singer was released virtual band gorilla Along with graphic designer Jamie Hewlett, few have dismissed this boring stargazing as eccentricity. Explore the far reaches of the pop galaxy beyond the guitar band format that made him famous. Today, almost a quarter of a century later, the desire to explore and mix genres and modes of production and benefit from them. collaborations of artists from diverse backgrounds this is exactly what defines popular music today. What was bold yesterday is ‘mainstream’ today. That’s how pop history is written.
Times change, but songs remain. AND “Cracker Island”Gorillaz’s eighth LP features several of the seas managed. A catchy whip sound driven by electronic funk’s hyperactive bass that begins with the title track (and opening) of the album. Thunder This is where Albarn sums up the thematic flow of the album: the existence of an occult sect on a remote island that functions as an allegory. a dystopian society where technology serves to inoculate the population and impose a single thought.
Tired influencers
to talk about the risks dissociation between virtual mirages and the real world (a dichotomy inherent in Gorillaz), the relaxed and tropical ‘Tired impressive’ on the album (“Trying to keep my head high / but nothing is real anymore / ‘the influencer’s world is tired”), the wonderful ‘Quiet running’ (high school neosoul, adeleye omotayo) and the hypnotic ‘New Gold’ (“trending on Twitter / that’s what some of us live for”).
Despite its undeniable virtues, this last piece may cause the listener to raise their eyebrows. existence Kevin Parker (Tame Impala) and rapper brown booties It provides a satisfying cross between psychedelia and hip-hop, but it’s hard to say what Damon Albarn’s contribution was beyond a memorable bridge. something similar happens in ‘Storm’ allegedly holding hands with Bad Bunny Gorillaz frontman steps aside and lets Puerto Rican carries all the weight of the song. The result is a meaty slice of reggaeton, yes, but completely disconnected from the narrative of the rest of the LP.
collaborations with different stevie nicks (‘Oil) and back (‘Possession Island’), where guests leave exciting sound tracks without losing sight of the fact that they are on Albarn’s ship. Eight LPs and a ship that, 23 years later, still keeps the anxiety of discovering new sound planets alive. It’s no small virtue. Rafael Tapounet
Other albums of the week
‘Tomorrow will be fine’
Carol G.
Universal Music
reggaeton
★★★★
Contagious whistle that starts with ‘don’t worry be happy’ Colombian fourth albumone way to notice how disk explains the artist’s relationship with Latin trap boss Anuel AA (Adding Shakira to ‘TQG’ doubles the bet). It is a powerful and very sincere album that looks and tells the past with anger. ways to overcome pain (Party with friends, as in ‘Besties’), but leave a comforting message. And even leaves the door open to believe in love again. Karol G uses reggaeton as a common subject, but at the same time big fan of latin pop (The Mexican aisle ‘Gucci los paños’ stands out). Ignasi Fortuny
“Raven”
kella
warps
R&B
★★★★
After six years of silence Kelela is reborn with a record that tastes like the night. A wish message sent at dawn, a disco and romance but also a memory. With a majestic, serene, indeed powerful fragility, Kelela muttered her voice. Broken beats of ’90s dance music -forest, breakbeat- and dreamy electronic atmospheres. emotional turmoil with political subtext: today this music is for everyone, yes, but it was ‘weird’ and black when no one wanted it. Roger Rock
‘Twelve’
Jacob Serra
stimulant
orchestral pop
★★★★
Waiting for the third album of this (more than five years). manchego pop aestheticfruit, on the other hand, meets expectations with a songbook that flows through the months of the year, contains experiences and deep thoughts with the silks of the year. Liverpool Jazz Orchestra. Leafy relief works, combines majesty and confessional recessfilm appetite, exoticism and cabaret and a touch of ‘big band’ without overlooking the song as a free and magical object. Jordi Bianciotto