Gorillaz's 'The Mountain' Review: A Late Career Peak Haunted by Ghosts Yet Glowing with Life
It has been 25 years since Gorillaz released their self-titled debut album, a project that began as a quirky one-off from Britpop star Damon Albarn and artist Jamie Hewlett. What might have been dismissed as a snarky joke at the expense of manufactured pop has evolved into a lasting cultural phenomenon, with the virtual band now seeming oddly prescient in an era dominated by cartoon K-pop groups and AI-generated singers.
From Virtual Concept to Enduring Legacy
Today, Gorillaz's sprawling oeuvre encompasses nine albums and features around 100 guest artists, creating a musical tapestry that links icons from Carly Simon to Bad Bunny. However, marshalling such an eclectic array of contributors has often posed challenges, leading to albums of variable quality that can be tricky to navigate. The band's most successful works, like 'Demon Days' and 'Plastic Beach', have been those unified by strong underlying concepts.
The Inspiration Behind 'The Mountain'
'The Mountain', Gorillaz's latest release, draws inspiration from two profound sources: a visit to India and the deaths of Albarn and Hewlett's fathers. This dual influence is reflected in the album's guest list, which includes a host of Indian artists such as playback singer Asha Bhosle, space-disco diva Asha Puthli, and sitar virtuoso Anoushka Shankar. Traditional instruments like the sitar, tambura, and bansuri weave through the tracks, adding a rich, cultural texture.
Simultaneously, the album features posthumous contributions from late collaborators, including Dennis Hopper, Bobby Womack, Mark E Smith, Tony Allen, and rappers Proof and Trugoy the Dove. Their voices are integrated not with eerie melancholy, but with a commanding presence that underscores the theme of enduring legacy after death.
A Surprisingly Upbeat Mood Amidst Grief
While loss and grief might suggest a somber tone, 'The Mountain' often strikes a weirdly upbeat mood. Tracks like 'The Moon Cave' offer post-disco boogie with lush strings, while Asha Bhosle's vocals soar joyfully over tinny synths in 'The Shadowy Light'. The album blends Arabic acid house in 'Damascus' and chaotic reggae in 'The God of Lying', featuring Idles frontman Joe Talbot.
Even in moments of sorrow, such as 'The Sweet Prince', which depicts Albarn at his father's hospital bedside, the music provides muted elation through hazy swirls of harp, sitar, and electronics. This contrast highlights a recurring lyrical theme: "Living is the ending of the beginning."
Cohesion and Consistency
Unlike some of its predecessors, 'The Mountain' feels more like a cohesive album than a playlist curated by someone with wide-ranging tastes. The themes of life, death, and cultural fusion tie the tracks together, making it an engaging listen from start to finish. This consistency marks it as an unexpected career highlight, arriving a quarter-century into Gorillaz's journey.
In a world where virtual bands are becoming commonplace, Gorillaz continue to innovate, proving that their concept remains as vital and relevant as ever. 'The Mountain' stands as a testament to their enduring creativity and emotional depth.
