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Awesome Music / Gorillaz

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  • "5/4". The second track that gives the listener a bigger glimpse into the world of Gorillaz.
  • When "Clint Eastwood" first came out in the US, you couldn't go anywhere without hearing it or, to a lesser extent, "19-2000". Oddly enough, the Soulchild Remix of "19-2000" gets more airtime than the original, even being referred to as the original on radio stations!
  • "Sound Check (Gravity)" — Epic enough already... and then those violins come in...
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  • "Punk" is one minute and thirty-six seconds of highly concentrated win. The Spacemonkeyz remix takes that win and turns it into a reggae song. Exactly as awesome as it sounds.
  • "M1 A1" is Gorillaz in full throttle band. It starts slowly and scary, and it builds onto an awesome rock soundtrack. It feels like old school Blur, or even old school alternative rock.
  • "Rock The House". Rhymes provided by Del make this track stand out yet still fit well into the album.
  • "Slow Country" is a lovely, breezy tune that sounds like something out of Animal Crossing.


Demon Days

  • "O Green World" makes the listener want to go out and punch zombies in the face over and over again.
  • "Dirty Harry" is just plain awesome even if you don't look into the political nature of the song.
  • "El Mañana" is a melancholy song that has an equally depressing video.
  • "Every Planet We Reach Is Dead" has some great instrumentals.
  • "November Has Come". Not only does it have an irresistible beat, but the song features none other than MF DOOM rapping over it.
  • "All Alone" doesn't get nearly enough love. Not only does Roots Manuva spit some great, toe-tapping lines, but Martina Topley's vocal section in the bridge is ethereal.
  • "DARE" just makes you want to get up and dance.
  • "Fire Coming Out of the Monkey's Head". Dennis Hopper's chilling commentary makes this track stand out.
  • "Don't Get Lost in Heaven", which along with "Demon Days" makes up the finale of the second album, is just freaking beautiful.
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  • The violin at the beginning of "Demon Days". Beautiful, haunting, and with that slight dissonance that just sticks in your head. Gives you the best kind of chills...
  • "Feel Good Inc." has everything: a memorable video, a catchy chorus - and it's the most successful song the band ever made.

Plastic Beach

  • "Rhinestone Eyes" is one of the biggest favourites of the album. Damon sounds great and the melancholic instrumental is the highlight, especially when it gets heavier.
  • "On Melancholy Hill" is one of the most beautiful, lingering, and raw songs in recent memory. And it's even better live.
  • "White Flag" is even more amazing played live, where Damon comes out at the end waving a giant white flag. Cue the audience going nuts.
  • "Empire Ants" is incredibly beautiful, as is "To Binge".
  • Broken is a very beautiful track as well.
  • "Cloud of Unknowing". If it can make Murdoc tear up, you know it's powerful. When it's played live, it's even more heartbreaking and awestriking.
  • "Glitter Freeze" is purely instrumental save samples, with some absolutely wild synths.
  • The title track, "Plastic Beach", doesn't get enough love: It's automated computer speech, it's a Casio on a plastic beach...
  • Even the first song, "Welcome To The World Of The Plastic Beach", featuring a very chill Snoop Dogg slowly rapping over an even slower brass band track. Hell, when paired with the orchestral intro, the pair pretty much serve as the perfect sign of what's to come on the CD.

The Fall


  • "Saturnz Barz", the first single and music video from the album, is infectious, trippy, beautifully animated and proof that Gorillaz haven't lost their touch.
  • "Ascension" is a ferocious beast of a track, giving off the feeling that the world's about to end, so it's time to party.
  • "Andromeda" is such a mellow and chill track, however melancholic it seems since Albarn explained that it was dedicated to the late Bobby Womack and his mother-in-law. Although that seems to make it all the more beautiful.
  • "We Got the Power" is a fast-paced and uplifting anthem that is entirely appropriate for the current political climate and tension. The song's only flaw is that there isn't more of it. It's a simple reminder that we all have the power of human compassion no matter where we're from or what our personal beliefs are.
  • "Strobelite" is possibly the grooviest song on the album. It has a spark in it that sets the entire track ablaze.
  • "Charger" can be best described as "hypnotic," with its repetitive, droning guitar loops, striking performances by 2D and Grace Jones, as well as one of the catchiest hooks in the entire album.
  • "Let Me Out" sounds both beautiful and haunting, thanks to great soulful singing by Mavis Staples and the chilling social commentary in the lyrics alluding to the uncertain state of African-Americans.
  • "Garage Palace" is quiet, yet incredibly smooth with Little Simz' cool, rapid-fire rapping set to a simple, yet groovy, driving beat. The live version has Simz provide much more vigor to her performance, and it's just as awesome.
  • "Out of Body" is a subtly brilliant mix of bouncy, mysterious, and chill, perfectly balancing the soft yet tight rapping from Kilo Kish, the cool and haunting whispers from Zebra Katz, and the gorgeously soulful singing of Imani Vonshà, all set to a simultaneously apocalyptic yet increasingly euphoric dance beat.
  • "Momentz" is a pounding jam that's surprisingly effective as a pump-up jam. Some think that the bass is a tad overbearing and trying too hard to be a club anthem, but maybe that's just part of the charm.

The Now Now

  • "Hollywood" is a funky, bass-heavy track featuring Jamie Principle and Snoop Dogg who remind the listener that the aforementioned city can and will blind you with the false promise of fame and luxury.
  • “Humility” is a breezy, upbeat summer tune perfect for the beach.
  • "Tranz" is the second single from The Now Now, and is a fun, catchy synth tune that feels like a callback to The 80's.
  • "Idaho" is a soft-spoken and lovely organ and guitar ballad.

Song Machine

  • "Momentary Bliss", featuring rapper slowthai and punk band Slaves, is a bright, punchy, energetic-as-hell track, with a killer mixture of electronica and punky Britpop only Gorillaz could pull off.
  • "Aries" sees the band channel their inner Joy Division and New Order, no doubt due to thanks to Peter Hook himself providing his signature bass. With additional help by Georgia, the song is groovy, retro, and breezy in the best ways possible.
  • "Friday 13th" is one of the most offbeat and unusually-produced songs in the Gorillaz discography, but within lies a chilled-out, reggae and dub-inspired bit of psychedelia that's both depressing and beautifully tender in its emotion.
  • "PAC-MAN" has a thick beat that recalls the heyday of the G-funk era. The instrumentals get an added punch-up when Schoolboy Q takes over, although the beat switches subtly again as the rapper glides over its woozy outro.
  • "The Pink Phantom" is a somber piano duet between 2D and none other than Sir Elton John, with 6LACK providing some smooth rhymes. The song has a solid beat that helps set the tone, the piano work is gorgeous, and Sir Elton John's voice sounds just as much like honey at age 73 as he did back in the 1970's.
  • "The Valley of the Pagans" is a lively and blissfully hedonistic mix of funk rock and synthwave, featuring amazing vocal chemistry between 2D and none other than Beck, sounding as fresh and youthful as ever.
  • "Opium" sees Gorillaz meeting up with EARTHGANG for an Afrobeat epic, building up with an extended drumbeat intro before blasting into a melancholy, but lush and driving number wistfully observing the chaotic state of the world and dreaming of a happier future.
  • "MLS" is one of the oddest, yet most colorful, even cutest Gorillaz crossovers to date, featuring the sweet group vocals of Japanese girl group CHAI and an uncharacteristically upbeat and energetic JPEGMAFIA, set against a laid-back, but bouncy beat. Unexpected and kooky, yet undeniably Gorillaz.
  • "How Far?", a collaboration with Skepta and the late Tony Allen, to the latter of whom the song is dedicated. With Allen's rich, lively drumwork and Skepta's intricate lyrics about the dangers of being famous in a dark world, it's a moody yet cinematic cut dripping with suspense.

Non-studio releases

Aw, what the hell, it would probably be easier just to say that everything ever put out by Gorillaz counts as Awesome Music.