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Track List
01) Phoner to Arizona
02) Revolving Doors
03) Hillbilly Man
04) Detroit
05) Shy-town
06) Little Pink Plastic Bags
07) The Joplin Spider
08) The Parish of Space Dust
09) The Snake in Dallas
10) Amarillo
11) The Speak It Mountains
12) Aspen Forest
13) Bobby in Phoenix
14) California & the Slipping of the Sun
15) Seattle Yodel
01) Phoner to Arizona
02) Revolving Doors
03) Hillbilly Man
04) Detroit
05) Shy-town
06) Little Pink Plastic Bags
07) The Joplin Spider
08) The Parish of Space Dust
09) The Snake in Dallas
10) Amarillo
11) The Speak It Mountains
12) Aspen Forest
13) Bobby in Phoenix
14) California & the Slipping of the Sun
15) Seattle Yodel
4:20
3:26
3:50
2:03
2:55
3:10
3:22
2:26
2:11
3:25
2:15
2:50
3:17
3:24
0:39
Data Complete
80%
Total Rating
80%Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2011
Alternative Rock
Smooth
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
The Fall is the fourth studio album from British virtual band Gorillaz. The album was officially announced on 20 December 2010 and soon after released on 25 December 2010 as a "free" download on the Gorillaz website, exclusively to fans in the band's Sub-Division fan club. The entire album was recorded on group founder Damon Albarn's iPad during the American leg of the Escape to Plastic Beach World Tour in October 2010 and mixed in England by Stephen Sedgwick. The album features fewer guest artists than previous Gorillaz albums; collaborators include Mick Jones and Paul Simonon of The Clash and Bobby Womack. The "Phoner to Arizona" music video, a compilation of footage and images taken from the tour and the phase was posted on YouTube on 22 December. The album was physically released on 18 April 2011.
User Album Review
There’s an argument to be made that the history of music has actually been the history of the tools used to make or capture that music, that the fresh and exciting stuff happens just as the technology is invented which allows it to happen. Certainly it’s hard to imagine the sparkling and precise acoustic balladry of the early 70s without hi-fi stereophonic sound, or the rise of hip hop without the benefits of MIDI, samplers and drum machines.
This is the first high-profile album to have been made primarily on an iPad, a labour of exploration that Damon Albarn put together on last year’s Gorillaz tour. Two years ago, it couldn’t exist. Now it does. Does this therefore mean that it represents a stunning step forward in musical creation?
Well no, that’s not really what iPads do. They re-create, in the touchscreen universe, devices which already exist: virtual vocoders, synth emulators, i-theremins and analogue warmth creators. Opening blast Phoner to Arizona is like a potted history of musical electronica ”“ but there’s nothing which carries the sonic hallmark of the tool itself.
Damon himself is a lot easier to spot. Apart from samples or snatches of dialogue, and one exceptional exception, his is the only voice present, his whispery, disengaged ghost hanging over everything. And when he’s good, he’s great. Amarillo darkly tolls like a robot national anthem, Revolving Doors is a melancholy travelogue through a foggy past, Hillbilly Man is two short and very different songs nailed together unceremoniously.
But there are also sketches and doodles, half-formed thoughts like Shy Town and Little Plastic Bags, better left in Damon’s hard drive until he found a decent chorus. Bobby in Phoenix ”“ the exception ”“ is a fried masterpiece; a union between Bobby Womack’s raddled acoustic soul and Damon’s digital heaven which offers a tantalising glimpse of a more collaborative record.
This, then, is an album which could only have been made for a post-iPad world. It opens the door to tantalising, exciting possibilities, but it’s also fragmented, distracted and indulgent. It’s almost like the real thing, but somehow not.
External Album Reviews
None...
User Comments
Available in:
The Fall is the fourth studio album from British virtual band Gorillaz. The album was officially announced on 20 December 2010 and soon after released on 25 December 2010 as a "free" download on the Gorillaz website, exclusively to fans in the band's Sub-Division fan club. The entire album was recorded on group founder Damon Albarn's iPad during the American leg of the Escape to Plastic Beach World Tour in October 2010 and mixed in England by Stephen Sedgwick. The album features fewer guest artists than previous Gorillaz albums; collaborators include Mick Jones and Paul Simonon of The Clash and Bobby Womack. The "Phoner to Arizona" music video, a compilation of footage and images taken from the tour and the phase was posted on YouTube on 22 December. The album was physically released on 18 April 2011.
User Album Review
There’s an argument to be made that the history of music has actually been the history of the tools used to make or capture that music, that the fresh and exciting stuff happens just as the technology is invented which allows it to happen. Certainly it’s hard to imagine the sparkling and precise acoustic balladry of the early 70s without hi-fi stereophonic sound, or the rise of hip hop without the benefits of MIDI, samplers and drum machines.
This is the first high-profile album to have been made primarily on an iPad, a labour of exploration that Damon Albarn put together on last year’s Gorillaz tour. Two years ago, it couldn’t exist. Now it does. Does this therefore mean that it represents a stunning step forward in musical creation?
Well no, that’s not really what iPads do. They re-create, in the touchscreen universe, devices which already exist: virtual vocoders, synth emulators, i-theremins and analogue warmth creators. Opening blast Phoner to Arizona is like a potted history of musical electronica ”“ but there’s nothing which carries the sonic hallmark of the tool itself.
Damon himself is a lot easier to spot. Apart from samples or snatches of dialogue, and one exceptional exception, his is the only voice present, his whispery, disengaged ghost hanging over everything. And when he’s good, he’s great. Amarillo darkly tolls like a robot national anthem, Revolving Doors is a melancholy travelogue through a foggy past, Hillbilly Man is two short and very different songs nailed together unceremoniously.
But there are also sketches and doodles, half-formed thoughts like Shy Town and Little Plastic Bags, better left in Damon’s hard drive until he found a decent chorus. Bobby in Phoenix ”“ the exception ”“ is a fried masterpiece; a union between Bobby Womack’s raddled acoustic soul and Damon’s digital heaven which offers a tantalising glimpse of a more collaborative record.
This, then, is an album which could only have been made for a post-iPad world. It opens the door to tantalising, exciting possibilities, but it’s also fragmented, distracted and indulgent. It’s almost like the real thing, but somehow not.
External Album Reviews
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