Track by track Dissecting Gorillaz’s new album ‘Humanz’, track by track

‘Humanz’ states its intentions immediately with this vicious Vince Staples-assisted opener, a rollocking cut that sees Staples airing every single one of his grievances in a blisteringly executed list. He finishes by spitting “you can live your dreams as long as you don’t look like me / be a puppet on a string, hanging from a fuckin’ tree,” and it starts a political rollercoaster that defines ‘Humanz’.

‘Strobelite’ takes things back from the frontline and into a state of calm, with Illinois-based vocalist Peven Everett’s smooth-as-silk vocals floating over a beat that could comfortably sit on either Disclosure record. Everett’s vocals are a welcome edition to ‘Humanz’, and would’ve shone more if paired with a more cutting soundtrack. ‘Strobelite’ is an enjoyable if slightly pedestrian cut.

One of the four tracks released in one go along with the announcement of ‘Humanz’, ‘Saturnz Barz’ is a total standout. Popcaan’s infectiously bright, bouncing vocals collide gorgeously with a suitably melancholy chorus from Albarn, and it’s the best vocal pairing the album sees. ‘Saturnz Barz’ pointed to extremely exciting things for ‘Humanz’ when originally released, and it sits pretty amongst the whole thing now too.

De La Soul return to the Gorillaz fold once more on the spiky, unpredictable ‘Momentz’. Based under a thunderous, techno-influenced beat, the rappers seem less fun-loving than usual, but their serious faces are equally compelling. Dissected by a yelping chorus-of-sorts, ‘Momentz’ is a timely and vicious jolt awake.

Washington singer-songwriter Kelela floats through the first half of ‘Submission’ for a pulsating yet largely anonymous first two minutes. As soon as you see Danny Brown in the credits though, the first half of ‘Submission’ is spent with held breath, waiting for the rapper to make his entrance with all the force and noise of a yappy dog at a letterbox. When he does so, it’s predictably intoxicating, and proof that, given any soundtrack, the Detroit star can sell his wares with ease and thunder.

As with Danny Brown, Grace Jones commands any space she stands in, and her interspersed vocals tower over ‘Charger’ as if boomed down to the streets from atop a skyscraper. Entering and leaving around fidgety Albarn-sung verses, ‘Charger’ is an uncomfortable yet compelling listen, with an hyper-active distorted guitar line at its base. Even just the presence of Jones makes it feel like a triumph, though.

Another of the four tracks showcased back in March, ‘Andromeda’ is largely led by Albarn, and his vocals fit remarkably well with an excitable musical backing that flits between electro-pop and something closer to soft techno. American rapper and vocalist D.R.A.M. provides some understated vocals, and Albarn’s words are hardly overbearing either. The beat on ‘Andromeda’ takes centre stage, and does the job more than adequately.

‘Busted And Blue’ is the only full track on ‘Humanz’ - disregarding a set of interludes - that doesn’t feature a special guest. A highlight of the band’s show at London’s Printworks last month, where the whole album was played, it’s a sombre signalling of the halfway point of the album - yeah, it’s a long one - that possessed more of a force live than here on record, but serves to break up the record nicely.

The suitably named ‘Carnival’ serves to lift ‘Humanz’ back to the upbeat, intense perch it sits upon for 90% of its running, with the deep, booming tones of r&b singer Anthony Hamilton thrusting the album forwards once again. At only just over two minutes, ‘Carnival’ is far from a centrepiece of ‘Humanz’, but a piece of the puzzle.

‘Let Me Out’ probably contains the most fascinating combination of voices on ‘Humanz’. When Pusha T joined the band for said London show back in March - while Staples was cast upon a screen behind the band - the crowd were so into the track that their cheers led the band to play it over again. Its final version shows that such hysteria is justified. A brighter, more easy listen than anything on King Push’s last album ‘Darkest Before Dawn’, ‘Let Me Out’ is unexpectedly uplifting, and one of ‘Humanz”s biggest surprises.

Sex. Murder. Party. This cut, featuring Chicago house producer Jamie Principle and rapper Zebra Katz, is frankly less ridiculous than its title would suggest. That is, apart from a more-than-slightly-disconcerting repetition of the track’s title with hushed vocals in the chorus. Besides that, Albarn’s signature drawl defines the track, perfectly set against a measured, slow house beat.

Amongst 20(!) songs on an LP, there’s some that are bound to be a little bit of a misstep. It’d be harsh to call ‘She’s My Collar’ such, but when such a force and a direction powers almost everything behind ‘Humanz’, it’s a track that feels a little directionless, without the spark that fuels the similarly composed ‘Saturnz Barz’ and ‘Andromeda’.

Released a good while before the album was announced, many would be forgiven for forgetting the inclusion of ‘Hallelujah Money’ on ‘Humanz’ when the album’s tracklisting came around. Benjamin Clementine’s vocals are winding and hard to follow, but it’s impossible not to try. The track feels a little out of place, maybe due to its early release, but goes further to highlight Clementine as a new voice to continue to watch closely.

Maybe the biggest surprise of ‘Humanz’ is seeing Jehnny Beth of Savages joining up with old foes Albarn and Noel Gallagher for a beautifully OTT rallying cry called ‘We Got The Power’. But here we are at the end of ‘Humanz’, and the murmurs of discontent that fill the album are replaced by infectious hope via the catchiest chorus the album possesses. Oh and Jean Michel Jarre is behind the decks, too. Only Gorillaz…

Tags: Features, Gorillaz, Listen