Type: Album
Genre(s): Electronic, Minimal Synth
From: England, London
Release: December 25, 2010
Producer(s): Gorillaz & Stephen Sedgwick
Although this is known to be the least appreciated point in the band’s discography, it’s definitely worth the chance. There are many admirable points in the tracklist, as well as a blatantly well-thought-out progression from track to track that makes for a cohesive listen with great flow. Yes, it’s a raw, simple, and casual brainchild famously made purely on an iPad, but that doesn’t keep it from having hugely creative moments that benefit from this simplicity and spontaneity.
Lyrically, the whole concept revolves around 2-D riding through the US and writing songs as he goes. This is a playful way to adapt to the real-life equivalent of Damon Albarn doing the same thing while being on tour with the band. Additionally, there are many devices employed to immerse the listener in this context, from field recordings to recurring descriptions of the roads and changing sceneries — all of which work quite well.
•Mid 7•
Highlights: Revolving Doors, Hillbilly Man, The Parish of Space Dust, Aspen Forest, Bobby in Phoenix.
Lowlifes: Shy-Town, Little Pink Plastic Bags, The Joplin Spider, The Speak It Mountains.
Track-by-track review
Phoner to Arizona: Here, the lyrics are open to interpretation, as well as almost unlistenable. It’s possibly someone trying to reach 2-D, arguably a bandmate. Audibly, the jumpy bass and sparkly synth melodies are immersive and —along with the seemingly programmed voice— make for an admirably interesting listening experience.
Low 8.
Revolving Doors is a song of 2-D’s melancholic longing for his hometown. He feels out of place in Boston and misses London, which is explored simply, concisely, and evocatively. However, the “redneck song” line seems unnecessary and out of touch. Instrumentally, this track features the first of many fantastic and smooth transitions. Moreover, the mood of this track is beautifully minimalistic albeit submerging; specifically, the combination of the electronic production with the in-your-face mixing of the ukulele arpeggios is lush and highly enjoyable.
Mid 8.
Hillbilly Man seems to be about how 2-D now feels like a *hillbilly man* by having stayed too much time in the US. It’s also about 2-D empathising with the heartbreak-centred themes a hillbilly man would write about. Incidentally, the song features horns from Gorillaz’s “Doncamatic”. This repurposing of sounds is given massive amounts of justice by virtue of another catchy, memorable, and unique composition. From the acoustic introduction to the somewhat dark synth-centred breakdown, this cut is as strong as the last.
Mid 8.
Detroit: “One, two, three, four, five, Detroit” are the only lyrics present in the song. It was recorded in Detroit, Michigan so it’s a simple way to give continuity to the journey-around-the-US concept of the album. Musically, on the other hand, it’s a fun pluck synth arrangement that fittingly comes together with the electronic percussion and the other playful melodies. Having said this, the electronic vocals are not as interesting this time around, and the more peppy feeling is ever-so-slightly bland.
Mid-High 7.
Shy-Town is a play on words for Chi-Town, which means Chicago, where this track was recorded. Thematically, it seems to touch upon ego and pride — probably one of the factors that led to 2-D’s momentary hiatus from the band. Sonically, the stunning opening is immediately and massively enveloping. However, the rest of the track fails to maintain this beautiful immersion due to ultimately feeling one-note.
Low 6.
Little Pink Plastic Bags is arguably a metaphor for those who float around through life, without much direction. It could alternatively be a song dedicated to literal bags on the highway during the trip though. Audibly, this track has another great transition, paving the way for a strong intro which combines a rather bleak ambience with a minimal though hard-hitting electronic drum pattern. Damon Albarn’s calm vocal delivery is also quite fitting; although, sadly, it’s another case of a promising start that drags on and begins to bore.
Low 6.
The Joplin Spider is a narrative about witnessing war from the perspective of a spider. This gives a unique and removed feel to the state of exacerbated violence. Adequately, this is the most abrasive production featured on the record, which goes against and disrupts the calm aesthetic present elsewhere. All the sawtooth-like synth melodies combine into a cacophony that’s appreciably atmospheric, though maybe not enjoyable per se.
Mid 5.
The Parish of Space Dust was recorded in Houston and uses alluring imagery to describe Texas. Likewise, the addition of many radio samples creates a further immersion in the road trip setting of the record. This is, in turn, accentuated with cosmic metaphors like the mention of space dust. The instrumental is appropriately and surprisingly epic due to its awe-inspiring, electronic waltz ballad approach.
Low-Mid 8.
The Snake in Dallas is an instrumental track that transitions beautifully from the last one (once again). It has an amusing synth solo accompanied by a moving synth-brass arrangement. Despite it being one of the least intricate or innovative cuts on the record, the to-the-point, strong, and well-utilised sound design is very rewarding. What’s more, the incessant bass is grimy and dirty in the best of ways.
High 7.
Amarillo continues with the anxiety and detachment established in “Revolving Doors”, which makes sense as both of these songs were released as a double single. However, this time around, there is considerably more regret and pain stemming from 2-D’s past. Instrumentally, this track is another one that’s easy to love, and probably one of the most atmospheric and enveloping songs yet. Although it’s slightly more ‘empty-sounding’ than revolving doors in a way, the production feels as involved and robust — with copious amounts of well-controlled reverb as large as waves on the mix side of things.
Low 8.
The Speak It Mountains seems to be an unconventional sonic extrapolation of these same feelings afflicting 2-D throughout the record. The robotic voices chosen to say lyrics are a solid selling point of the synthetic feeling caused by detachment. The added melodic embellishments and other out-there accompanying details make for an interesting and unconventionally cut with the feel of an interlude.
Low 6.
Aspen Forest is an admirable electronic instrumental that lives up to its title. It has great harp/shamisen-like string arrangements, fitting piano chords, and calming production elements (like the ambiental samples of water) which create a listening experience akin to enjoying a lively *forest*.
Low-Mid 8.
Bobby in Phoenix is a song co-written with Bobby Womack about struggles and hard times; additionally, adorned with a silver lining in the form of the speaker’s love for Phoenix, Arizona. What’s more, Bobby Womack’s guitar arrangement and vocal performance have a calming and somewhat inspiring chemistry with the rest of the lush electronic production.
Low-Mid 8.
California and the Slipping of the Sun is another cut that uses field recordings to add to the atmosphere, this time making use of train station announcements. The songwriting seems to detail how 2-D has grown appreciative of the landscapes, even if he is still stressfully counting the days that are left to return. This is, once again, expressed through robotic voices which are adorned with ambient synths, chirps, and pads that eventually build up into a dancey outro. Moreover, the distant guitar-and-vocal performance is an interesting decision to accompany the unconventional amalgam of —somewhat forgettable— electronic sonics.
Low-Mid 7.
Seattle Yodel is made up of recordings from the “Yodelling Pickle” — which is some weird toy. It’s honestly a pretty funny way to close the album, even if the recording is not great because it (obviously) sounds grainy and saturated.
Amusing outro.