For record number nine, Gorillaz set themselves a challenge to “make an album about death that made people feel less afraid of death".
Damon Albarn and Jamie Hewlett had been reflecting on mortality after both of their fathers died, just ten days apart. The pair found comfort in the afterlife beliefs favoured by Eastern religions, which impacted The Mountain’s themes. Albarn turned to music, composing The Sweet Prince in the days following his dad’s death.
Although Anoushka Shankar (sitar), Ajay Prasanna (flute) and Viraj Acharya (tabla) are integral to The Mountain’s sonic palette, Gorillaz’ quirky signatures – nursery-rhyme melodies (The Manifesto feat. Trueno and Proof), whistled hooks (see: Orange County’s winsome refrain) – remain.
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Inside The Moon Cave, Black Thought’s rap oozes smoothly over glitchy, shuffling beats, hopeful strings and wafty flute. For The Happy Dictator (featuring the brilliantly bonkers Sparks), 2D sounds more like Albarn himself than ever before.
With its belly-dancing beat that won’t quit, Damascus feat. Omar Souleyman and Yasiin Bey (née Mos Def) is a cheeky belter. The Shadowy Light teams Gruff Rhys with 91-year-old Bollywood legend Asha Bhosle.
The Mountain speaks five languages – Arabic, English, Hindi, Spanish and Yoruba – and features unused recordings of now-deceased Gorillaz collaborators including Bobby Womack, Dave Jolicoeur, Dennis Hopper and Tony Allen. “Shrunken China heads… Peg-legged slave traders…” – Delirium immortalises Mark E. Smith’s unmistakable, dramatic timbre.
“Now there is nothing and I have gone/ No more mountains no more song/ No more prayers sent up into space/ Only screens left to see your face” – closer The Sad King circles back to the self-titled opener’s bewitching sitar/flute/tabla blend.
An impeccable addition to the Gorillaz catalogue.
