The Mountain

Upon release of Gorillaz ninth studio album The Mountain, a quarter-century had passed since the world was introduced to the then-novel idea of a cartoon "virtual" band. Through the years, the unpredictable journey of 2D, Murdoc, Russel, and Noodle yielded a number of cultural touchstones and enduring classics. While their 2010s output veered more toward playlist territory than a start-to-finish concept, 2023s Cracker Island began a course correction thats been fully achieved on The Mountain. Their most cohesive effort since Plastic Beach, this excellent vision places focus on mortality and lifecycles, hitting the emotional core in a way that Gorillaz has never done before. Yet its the sublime sonics that really bind The Mountain together. With the cartoon quartet decamped to India, its only natural that the music follows suit with an inspired cast of Indian artists that nails the depth, multicultural scope, and emotional aesthetic that Damon Albarn and Jamie Hewlett were going for. This use of a specific cultures musical traditions harkens back to Albarns work on Monkey: Journey to the West and with his various African collaborations -- notably Amadou and Mariams Welcome to Mali and Mali Music -- that doesnt ever feel culturally appropriative. Alongside an international roster that includes Sparks, IDLES, Bizarrap, Johnny Marr, and so many more, Indian musicians Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Amaan Ali Bangash, and Ayaan Ali Bangash make an indelible impact. Given the space to just play, these artists weave around and through each song, creating a magical sonic tapestry that is beautiful and transportive (especially on the tone-setting title track and "The Sweet Prince"). But why India and all this existential pondering? For Albarn and Hewlett, the real world reasons were plenty somber: both lost their fathers and Hewletts mother-in-law suffered a debilitating stroke, with both men venturing to India for solace in the hope of an afterlife. Since loss and healing are major central themes, many tracks also feature unused vocal tracks by posthumous guests from across the Gorillaz catalog such as Dennis Hopper, Bobby Womack, Tony Allen, and Mark E. Smith (whose standout "Delirium" mirrors "Glitter Freeze" perfectly). That anchor to the real world gives The Mountain more heft than the usual Gorillaz album, elevating these songs to something more meaningful (longtime fans, fear not, theres still a surreal and kooky character back story to continue the long-running lore). The seven-minute centerpiece "The Manifesto" is a vibrant journey; just get lost on the horn-backed ride with Argentine rapper Trueno and late D12 member Proof. Standout single "Damascus" is a classic Gorillaz banger that was supposed to be on Plastic Beach, featuring a propulsive beat, colorful production, laser-focused bars from Yasiin Bey, and backing vocals by the incomparable Omar Souleyman. "The Moon Cave" is another digi-funk highlight, like "Stylo" with South Asian flair. The Roots Black Thought lends his talents to that track, as well as "The Empty Dream Machine," two of the best guest appearances on the album. At its best, the high points on The Mountain recall the wonder of Plastic Beach, a warm escape that felt like all the collaborators were jamming as one, not for the sake of a cool collab but for the art and connectedness of it all. The emotional backbone of The Mountain, however, pushes that expert musicianship beyond the typically reliable Gorillaz sound and into new territory, adding more heart and humanity than this cartoon crew has ever mustered. ~ Neil Z. Yeung