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Availability:
Only 3 left in stock, order soon!
Arrives
Aug 25 – Aug 31
Format: Plastic Beach
Description
We rejoin the band as Murdoc the bass player is gathering musicians and collaborators to create the new album. The new Gorillaz empire is set on a strange floating island deep in the South Pacific at the furthest point from any land mass on the planet... Introducing Plastic Beach - an island made entirely of plastic, debris and the washed up remnants of humanity. Amongst the collection of historical remains and discarded rubble, Murdoc finds a book detailing the history of Man right up to the present day, except the last chapter "The End of Days" has been torn out - the future is missing. Time to get the band together, finish this album and have fun while the sun still shines...To complete the task, Murdoc has assembled some other musicians to join the band at Plastic Beach, these select people would join him on his floating Hellfire Club, as musicians, players and contributors in this wonky, damaged Plastic opera. Mos Def, Bobby Womack, The Horrors, Lou Reed, Little Dragon, rappers Kano and Bashy, Mark. E. Smith, Syrian orchestras, global musicians and more....All would be subpoena-ed to collaborate on this visionary Gorillaz record now on Vinyl!
Is Discontinued By Manufacturer : No
Product Dimensions : 12.36 x 12.28 x 0.35 inches; 1.23 Pounds
Manufacturer : Wb / Parlophone
Item model number : 26166
Date First Available : July 16, 2010
Label : Wb / Parlophone
Number of discs : 2
Best Sellers Rank: #1,439 in CDs & Vinyl (See Top 100 in CDs & Vinyl) #778 in Rock (CDs & Vinyl) #849 in Pop (CDs & Vinyl)
#778 in Rock (CDs & Vinyl):
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If you place your order now, the estimated arrival date for this product is:
Aug 25 – Aug 31
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Top Amazon Reviews
It's a tough debate. This album thumps from start to end. Must have if you're a Gorillaz fan.
Reviewed in the United States 🇺🇸 on December 15, 2022 by Sk8m8
In a few words: If you want Demon Days or Gorillaz pass this up. If you want to hear the next phase of Gorillaz' musical adventure, as well as a solid, Earth conscience, electropop album, go out right now and get this. For what it's worth, I'd say get it either way. But the slow, melancholy hip-hop swagger of Demon Days is traded in here for a upbeat (if ironic) electronic sound. Damon Albarn's vocals are sounding more and more... well, like Damon Albarn's and less like 2-D's lately. But this was already happening In Demon Days when the falsetto was ditched nearly completely. The falsetto makes a return here, but with a different vibe. More like Albarn on "The Universal." The guests are prominent on this album, but I feel they're not a main feature. While I feel that the guest heavy tracks in Demon Days are some of the best ("November Has Come," "Feel Good Inc.," "DARE," "All Alone",) "Rhinestone Eyes," "Broken," and "On Melancholy Hill" may be some of the best Gorillaz tunes in quite some time that do not feature guests. However, while many of the guests on this album manage to sound a little out of place (like Snoop Dogg on "Welcome to the Plastic Beach," and Marky Smith on "Glitter Freeze") many of them help to paint an amazing musical palette of nearly epic proportions. Little Dragon does a fantastic job of covering female vocals on this album, presumably playing the role of Noodle for this phase with songs like "To Binge" and "Empire Ants," the former containing some of the most emotional lyrics yet in a Gorillaz tune. Likewise, Mos Def and Bobby Womack electrify "Stylo," and Lou Reed (a pairing I thought I'd never see) sprinkles "Some Kind of Nature" with his usual sarcasm and dry wit. Of course, Gorillaz pair up with my favorite hip hop group De La Soul once again on "Superfast Jellyfish," a quirky tune if a bit disappointing in concept (it's a commercial for Superfast Jellyfish, a conceptual food of the future when the polar ice caps melt and the Earth is mostly water.) The album closes with a mysterious, airy tune by Bobby Womack, "Cloud of Unknowing" and the soul-inspired green tune "Pirate Jet" (contains my favorite line in the album "It's all good news now, because we left the taps running for a hundred years") which brings the album to a faded close, but leaves a bit to be desired. All-in-all the track listing in massive in its scale but leaves you wanting for more. It almost doesn't feel as much like a Gorillaz album, but rather like a mixtape of some kind. And the extra tracks included with the iTunes Deluxe edition are no more than instrumentals, including an extended version of the Orchestral Intro. So, while the music is outstanding, the album as a whole suffers from a lack of... well, Gorillaz. There are around five tracks on this album that don't feature Albarn's vocals at all, concentrating on the guests instead, unless you count Damon's looped line "Just like that" in "Welcome to the Plastic Beach." Taking a step back outside the music for a moment, the storyline of Gorillaz continues to be interesting, saving much of this phase's intrigue for after the album's release instead of before, like in Demon Days or Gorillaz. There are many mysteries to be solved, and even the new Gorillaz website is going to be opened piece by piece to allow for exploration of the storyline and to add some anticipation to figuring out the puzzle contained within Plastic Beach's history. Many fans complain of a lack of Russel or Noodle (both having been ditched by Murdoc... sort of,) but I remain faithful that Cass and Jamie have many creative twists and turns in store for us yet. It should be noted that the idea of a movie has not been nixed, and the idea that this is Gorillaz' last album has been walked back quite a bit. To add to that, the artwork this phase has been taken a step up. It's some of the best, most vibrant Gorillaz artwork I've ever seen from Mr. Hewlett. He opted to breathe new life into the design of the characters this time around by redesigning them almost completely (especially with Murdoc) and straying from old conventions on their stylings. The packaging is absolutely beautiful, which is why I remain hopeful for a vinyl release. All-in-all, another fantastic album from Gorillaz. It's always hard for me to place which one is my favorite because it seems like each album is a new experience on its own, rather than a continuation of the same thing. I would suggest going into this album with an open mind, and an open heart. Standout Tracks: "Rhinestone Eyes," "Stylo," "Superfast Jellyfish," "Some Kind of Nature," and "To Binge"
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Reviewed in the United States 🇺🇸 on April 11, 2010 by William Naquin
Llegó antes de lo esperado
Reviewed in the United States 🇺🇸 on December 10, 2022 by Javier Bernal
"Empire Ants" starts off like the nice-but-boring ballads from the last Blur album. Then it suddenly explodes into a dazzling rush of impossibly clean keyboards and Yukimi Nagano 's lost, spaced-out vocals. It is an incredible, beautiful contrast with Damon Albarn's conventional balladeering in the beginning. Ultimately, Plastic Beach isn't as visionary as Demon Days (surely one of the top five albums of the 2000s), but when it does come together, there's nothing else like it. The album's other peak is the lead single "Stylo," which unsurprisingly bears the most resemblance to the dark mood of Demon Days. It's packed with even more brilliant left-field juxtapositions than "Feel Good Inc." The music is based on a cold pinpoint-techno crawl with dark keyboard overlays. The lead vocal is passed from a smooth vocoded rap by Mos Def, to Albarn's fragile lost soul (much like in "Feel Good Inc."), to a colossal, histrionic turn by soul legend Bobby Womack. The smooth, easy way with which these three very different vocal styles alternate is remarkable, and the first two vocalists create a restrained counterpoint to Womack's overpowering, force-of-nature voice. Alas, "Stylo" is the only time Plastic Beach flirts with darkness. The other catchy pop moments are of a more comic, whimsical nature. "Superfast Jellyfish" has De La Soul on lead vocals, but it's really a classicist British pop song masquerading as hip-hop. It has more in common with catchy, fey Blur songs like " For Tomorrow " and " Charmless Man " (and with predecessors like the Kinks ) than with rap or electronic music. I predict that it will be massively popular in Britain, but I personally prefer the more dramatic tone of Demon Days. Albarn produces the album himself this time, and it shows. Aside from the one brilliant moment in "Empire Ants," there are no sudden, abrupt shifts like the crashing rap verse in "Dirty Harry" or the move from keyboards to acoustic guitar to strings in "Last Living Souls." That was a large part of what made Demon Days so captivating -- you never knew what was coming next, even over the course of one song. Plastic Beach is less unpredictable. Furthermore, Albarn's background in Britpop leads him to make less effective use of the rappers than previous producer Danger Mouse. On "White Flag," Albarn tries to create an unconventional Gorillaz juxtaposition by putting a string and woodwind section together with rapping. Unfortunately, instead of flowing together seamlessly like "Dirty Harry," it sounds really jarring. I think Kano and Bashy have an awkward flow, especially when compared to the effortless way in which Bootie Brown dominated a much more complex rhythm-and-strings combination on Demon Days. Additionally, "Sweepstakes" is a very ungainly and repetitive song (unfortunately much longer than "White Light") -- Mos Def basically yells a few lines over and over, a far cry from his own performance in "Stylo." The huge number of collaborations on Plastic Beach means less than the sum of its parts. What's the point of getting Mark E. Smith on your album if you only have him sing a couple of lines? "Glitter Freeze" may have Smith's name on it, but it's basically an instrumental -- a good one, but you'd expect more. "Superfast Jellyfish" has Gruff Rhys on the chorus, but he sounds completely identical to Albarn. The title track features Mick Jones and Paul Simonon of the Clash , but there's nothing about it that really stands out from any other Gorillaz song. If Jones is participating in the vocals, I couldn't tell him from Albarn either. On the plus side, "Some Kind Of Nature" features a hugely appealing performance by Lou Reed. His bemused affectations, together with the music-hall backing, make him sound like a more gravelly-voiced version of Bowie. The positive tone is really infectious, and Albarn provides a bit of creeping melancholy in the chorus. Furthermore, Snoop Dogg is the perfect choice for "Welcome To The World Of The Plastic Beach." His extremely lazy, luxuriant style is an ideal match for the tropical-resort image of the "plastic beach," and he offers a generally positive message, but his voice always has this sleazy, threatening undercurrent that is also perfect for Albarn's vision of "plastic" debris. The glitzy, chintzy horns blaring throughout the track are a great touch, creating a seductively futuristic, extravagant sound. Also, Albarn always has Britpop balladry to fall back on. He finds two gems in this vein: "Rhinestone Eyes," where woozy synth-funk combines with his detached speak-singing (surprisingly poignant when it leans toward singing at the end of a line), and the gently rolling "On Melancholy Hill." Other songs like "Broken" cover the same emotional territory, but "Rhinestone Eyes" is by far the best. I think we all wanted this to be the ultimate globe-trotting, ultra-hip, futuristic album. Actually, Plastic Beach is more like The Great Escape to Demon Days' Parklife . It has more pop, more hooks, more collaborations, more everything, and sometimes it's even better, but still, it was Demon Days that really nailed the mood of the decade. Plastic Beach doesn't have the same effect, but it has moments of brilliant inspiration.
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Reviewed in the United States 🇺🇸 on March 9, 2010 by Angry Mofo