The Purple Tux

With just enough education to perform.

Demon Days by Gorillaz.

Ah, the band that combines three of my favorite things- Britpop, alternative hip-hop, and comic books. Jamie Hewlett (the British comics creator famous for the acclaimed Tank Girl) and Blur's Damon Albarn join forces again for the fictional band's sophomore album. Like the first album, this one features plenty of guests [De La Soul, Roots Manuva, MF Doom, crazy Shaun Ryder, Simon Tong (former guitarist of The Verve), and even the actor Dennis Hopper], though the musical vision clearly belongs to Albarn. This time, DJ Dangermouse produces and the production is utterly top-notch throughout.

Demon Days is about as eclectic as the first Gorillaz album, yet it's more focused. At just a bit over fifty minutes, there is no filler to be found. It's difficult to describe the overall sound of the record. It's a blend of hip-hop, intelligent pop, rock, and electropop. I'd say the lead single, "Feel Good Inc." is pretty indicative of the rest of the songs.

"Feel Good Inc." is pretty hot. It’s been all over the radio and it’s in iPod commercials. I’m sure you’ve heard it by now. It's probably the best single of the year. A kind of modernized funk rap song, it's perfectly produced. Each break comes at just the right moment, the bass is hypnotizing, the random electronic vibes are tasteful, and De La Soul come in at just the right moment. Plus, it's insanely catchy as hell without getting too puerile. And the music video is visually engaging, as well. As good as that song is, it might not even the best on the album.

"Dirty Harry," the obvious spiritual sequel to "Clint Eastwood," is another track that's just catchy like nothing else. It's danceable, features Bootie Brown (of the Pharcyde), and is one of only a small number of recorded pop songs in existence to make good use of a children's choir. (The Smiths’ “Panic” being another great example.)

Another highlight is "Dare," the song on the album which most reminds me of a stunningly-produced ‘80s new wave song. Damon Albarn works his quirky falsetto over a sparkling, upbeat tune that, strangely enough, calls to mind the act of riding futuristic motorcycles at night. Crazy Shaun Ryder of the old Britpop group Happy Mondays (this crazy semi-washed up British rock star who was all about drugs, booze, partying, etc) lends some vocals and atmosphere to this mesmerizing dance track.

On the more mellow side of things, "November Has Come" is exceptional. MF Doom's laid back rapping along with Albarn singing the hook is a combination that I never imagined, but it sounds great. It’s soulful, zesty, and it's poppy enough to sound good to anyone with half-decent taste while retaining some indie sensibilities. Same goes for the following song, "All Alone."

From start to finish, this is an engaging album. Each song is catchy enough to grab you on the first listen, but deep enough that you can listen to the entire album repeatedly. I think I've had this album for at least a good 6 weeks or so, and I still listen to it often because it’s just that good. [Edit: I wrote this back in late June or early July. At this particular moment (I still have yet to post this), it is the middle of September and I still listen to this album every few days at least.] [Post Edit: Yeah, now it's the end of December... But I still listen to this album.]

Though the title Demon Days may imply a dark tone, for the most part, the album is not depressing or anything. While it's probably got darker undertones than most pop records, it tends to be pretty bouncy (without being ditzy) and generally exudes a joyful feeling, as though Albarn and his conspirators are simply having a really fun time making the music. And you know what? From the technopop of the opening couple tracks to the dancepunk of "White Light," to the slow but victorious burn of "Don’t Get Lost In Heaven" and the title track, which close the album, I have a really fun time listening to what they’ve made.

Out of Nothing by Embrace.

Pleasant and inoffensive Britpop, falling neatly in line with the trend of mellow rock as established by Travis and popularized by Coldplay. Embrace, I believe, have been around for some years now, but this is a breakthrough album of sorts for 'em. It was a number one platinum album in the UK, and listening to Out of Nothing for the first time, it's easy to see why.

This is rock music for the masses, ready for the stadiums of the world. And that does not make it a bad thing. I don't consider myself a music snob. If it’s good, it's good, and if I like it, I like it. If I don't like it, then I don't like it. I don't hate unless it really sucks.

And while I have to admit that there isn't really anything groundbreaking or innovative in this Embrace album, I also can't deny that the ten tunes on this record are all very professional, with nary a bad apple in the lot. Okay, so they tend to be formulaic and vaguely familiar, but at least they’re catchy as hell and fun to sing along with. (Uh, is it okay to end a statement with a preposition?)

Case in point: the opening track and single, the song "Ashes." This is a rising anthem that would make any up-and-coming British band jealous. With its U2ish attempt at creating lyrics that are universal in nature (or, if you're feeling cynical, they're generic in nature) but meant to appeal to the individual and its soaring chorus, Embrace show they've got the formula down pat. This includes the verse-chorus-verse-chorus to dramatic bridge to final, rousing, victorious chorus ("Now watch me rise up and leave all the ashes you made out of me / When you said that we were wrong, life goes one, you blew me away") to slow and moving fadeout ("I sink like a stone, I lost my control" over and over and over…).

Don't think that they've only conquered the stirring life-anthem. They’ve also mastered the emotionally-wrought ballad. Witness Exhibit B, track two, also known as "Gravity." Or, if you're a Coldplay fan, the demo version of "The Scientist." In fact, Coldplay wrote this particular song and simply gave it to Embrace. What nice blokes, them in Coldplay. However, Embrace's version of this Coldplay-penned track elevate it from being a mere Scientist Demo into a full-fledged B-Side, at least.

Seriously, though, this song really reminds me of "The Scientist," and because Coldplay did write it, it really does feel like an unused demo of a song they threw away. I can just imagine the conversation Chris Martin must have had with his bandmates…

Chris: Here's this new song I’ve written, perhaps we could use it as our lead single for the new album. [Plays them "Gravity."]

Band: Hmm. It’s not all bad, wot. Though it does sound a wee bit similar to "The Scientist," don’t you think?

Chris: Mayhaps you’re right, my good blokes. How about this one, then? [Plays them "Speed of Sound."]

Band: That's it, that’s the song that'll be our lead single! It sounds like a rewrite of "Clocks," it'll be rather perfect.

Chris: I know what you mean. But what about our ballad, then, we've got to have a ballad. If we’re going to use the rewrite of "Clocks," why not use the rewrite of "The Scientist"?

Band: Everyone'll recognize it, though. We don't want to be accused of copying our own tunes, like Oasis. Everybody makes fun of Oasis.

Chris: Right you are then, chaps. I've been working on this one. What do you think? [Plays them "Fix You."]

Band: That's genius, mate! It sounds like a sadder version of "Trouble!”"No one remembers anything from our first album (other than that one song with the video where it’s just you strolling along the beach). We’ll use it!

Chris: Righty-o, then. But I hate wasting a written song. Should we just record "Gravity" as a B-Side, then?

Band: Why don't we do the delightful thing and just give the song over to Embrace? It's been a good proper while since they've had a hit, innit? Their mums will be smashingly delighted.

…Er, or something like that.

"Ashes" and "Gravity" pretty much define this album. The anthem and the ballad. It's worth picking up at a discounted price, or if you're a big, big Coldplay fan and want something very similar. I can't really knock this Embrace album, but I can't really get too enthusiastic about it, either.

It's all just too polite, professional, and inoffensive. Sometimes, I think it's quite possible for music to be so blatantly inoffensive that it IS offensive. I'm still not sure if Embrace’s Out of Nothing falls into that category, though. Either way, I can't deny that it’s fun to listen to the album, and the tunes are, admittedly, pretty majestic.

It's not exactly a rush of blood to the head, but it's pretty close, I do suppose.

“The Future Embrace,” by Billy Corgan.

Ah, Billy Corgan, one of my favorite American rock stars. Probably, my view of this record is tainted by my appreciation of the man and his music. I love the Smashing Pumpkins. I have all of the studio albums and a ton of bootlegs (demos, live tracks, rarities, etc), probably the most bootlegs of any other group I like. I even loved that one Zwan album. Don’t know exactly what it is about this guy’s music that tends to resonate with me. Perhaps it’s his skillfulness at expressing hope, despair, and longing in a way in which the lyrics and music organically interact with each other to create a vibrant emotional connection.

First of all, a point of reference: this solo album doesn’t sound like a rehash of any of his previous work. Its closest relatives would have to be the “Adore” and “Machina/The Machines Of God” albums the Pumpkins created in their latter days. So there’s an eighties-era sensibility to “The Future Embrace” that’s also present in those Pumpkins records. This album has kind of a new wave sound to it, in a way that is very similar to the overall sound of “Machina,” with plenty of keys/synths. A lot of the drums are programmed, but it’s quality. The Killers, this ain’t, but I’d say that this album contains more variety in its songs, which makes it less of a drag to listen all the way through than “Hot Fuss.”

The sound is big but the songs are intimate. Lyrics that read rather plainly on paper (such as “all things change / never rest, never sure / what is worth / fighting for / we can change the world” from the album’s opening track, “All Things Change”) gain increased significance when combined with the music and delivered with Corgan’s trademarked, distinctive, nasal voice. (I suppose his voice is so unique that people either love it or hate it, with very little room for the middle ground. In case it’s unclear, I happen to love his voice and its uniqueness.) In addition, this album seems to find Corgan at a much happier and more positive mood. There are a lot of hopeful sentiments expressed in these songs, but the intense and occasionally melancholy music rarely degenerates those sentiments into anything less than they are.

Whatever your reaction to his lyrics, it’s tough to deny Corgan’s honesty and conviction in delivering his ideas. While it’s easy to misunderstand the man, his gift of songwriting remains. People who’ve pegged Corgan down as an immature manchild who helped define teen angst for an entire generation with the words, “Despite all my rage, I am still just a rat in a cage” seem to forget that he also once sang, “It meant the world to hold a bruising faith / But now it’s just a matter of grace.” His songs often capture his state of mind in specific moments, and it’s this honesty that really brings out the heart of his music, lyrically and sonically.

I’ve never heard anyone criticize “Melon Collie And The Infinite Sadness” for sequencing “Zero” (y’know, the one where Corgan sneers, “And God is empty, just like me”) just a few tracks after the positively uplifting “Tonight, Tonight.” And while it’s fair to admit that there is no “Tonight, Tonight” equivalent on “The Future Embrace,” the fact remains that these songs (and, perhaps, the album itself as a whole) captures good ol’ Billy in a good mood.

Also worth noting is the cover of the Bee Gees’ “To Love Somebody.” This particular rendition even features Robert Smith (of The Cure) doing some harmony vocals and adding some guitar parts. This is an incredible cover song. Both Corgan and Smith have such distinct voices that when they sing together, it’s downright otherworldly. Definitely worth checking out.

Other than “To Love Somebody,” the album in general doesn’t contain anything too catchy or hooky. It takes some time to allow the songs to grow, but patient listeners who are willing to invest a little of themselves in the experience will find plenty to enjoy. I haven’t been paying attention to the charts or anything, so I don’t know how this album is doing or how well it is selling. And to be honest with myself, it probably isn’t music that is going to appeal to a vast majority of the public. It probably isn’t even music that will appeal to casual fans of the Smashing Pumpkins. But it will appeal to anyone with an ear for the wistful nature of new wave music, this time played with a modern and up-to-date sensibility (and perhaps trading in some of the danceability for raw emotion). If anything, the fact that Corgan obviously doesn’t care about making music that will pan for the masses is worth some respect. It’s all about the artistry, baby.

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