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Digital Subscriptions > Classic Pop > Aug-18 > GORILLAZ




There’s a peculiarly English criticism that’s often been levelled at Damon Albarn: “Too clever for his own good.” Its roots lie in the belief that somebody who thinks they know a lot will make errors based on their arrogance.

These days, it’s frequently used by someone whose self-assumed superiority is threatened by another’s intelligence. The aim – to use another equally loaded phrase – is simply “to bring them down a peg or two”.

Albarn’s middle-class upbringing provoked suspicion right from the early days of Blur, but rarely more than during the era which saw them pitted against Oasis, when his background was used to suggest inauthenticity.

Yet he’s kept plugging away regardless, his confidence in his own prolific talent at times alienating, at others validating, but almost always justified. Such disparagement, therefore, seems beside the point.

Some, of course, will find a way to argue that his decision to hide behind Gorillaz colleague Jamie Hewlett’s animated caricatures is yet another display of hubris.

Occasionally – especially when their records overflow with celebrity guests – this might seem fair. But The Now Now is Gorillaz’ most unpretentious, least ostentatious release yet, with just George Benson providing graceful guitar licks on the seductively laid-back Humility, and Snoop Dogg and Jamie Principle adding their voices to the curiously haunting Hollywood’s wobbly, acid house vibes.

Elsewhere, with Albarn’s slightly distorted voice at its most vulnerable – as though singing through a layer of gauzy surgical dressing – the intimate Idaho finds him drifting towards nature amid a quiet backing of acoustic guitars and lullaby-friendly synths, and the closing Souk Eye adds an air of poignancy with subdued hints of the Pet Shop Boys.

However, the simplicity of Lake Zurich’s electro-pop and Fire Flies’ almost limping lethargy underline how the album was constructed in just a month. The Now Now is probably the most human record Gorillaz have made, and it’s all the better for it. So yeah: Damon Albarn’s pretty clever. Get over it, why don’t you? WW


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About Classic Pop

In the latest issue of Classic Pop, our cover star is the mighty Rick Astley. We have an exclusive in-depth chat with the singer as he returns with new record Beautiful Life – the pressure's on as he attempts to follow up his hit album 50. Synth-pop icons Heaven 17 look back on their superb LP The Luxury Gap and the legends keep on coming this month as The Human League talk us through their back catalogue, album by album. For ABBA fans, we go behind the scenes with Carl Magnus Palm for the inside track on their career in the recording studio and also serve up a buyer's guide to Sweden's finest. We travel Down Under to speak to Dannii Minogue as she relives her Neon Nights album 15 years on – it's the record that transformed her into a bona fide dancefloor icon. Massive Attack's imperious Blue Lines is our Classic Album this issue and we also meet Jennifer Warnes to talk about her brand new studio LP as well as her Oscar-winning songs that soundtracked the 80s. Our packed reviews section features new albums from All Saints, Gorillaz, The Proclaimers, Rick Astley and Gabrielle and many more while the reissues take in a superb Soft Cell boxset, Depeche Mode 12" singles, Morrissey and Jean-Michel Jarre. On the gig front, we're bowled over by an astonishing David Byrne live show, travel to the Isle of Wight Festival to see Depeche Mode and check out two legends, George Benson and Quincy Jones. Enjoy the issue! Steve Harnell Editor Classic Pop