The Good, The Bad & The Queen The Good, The Bad & The Queen by: Justin Pearsall Tue:13-Feb-07 Label: Capitol Year: 2007 WB rating 79 out of 100

Once upon a time there was a Britpop explosion. It was led by two distinctively British bands, one named Oasis and the other known as Blur. These bands shamelessly defied the dying remnants of grunge, employing a keen sense of melody and a dapper optimism instead of distortion-soaked guitar. A scene was established and these two Brit bands ran all over the globe selling out stadiums and CD stores...

It lasted a few years. It was madness. But like just about any fad, the arse fell out of it before you could say: “What’s the story?” and here is where we find our fork in the road. Oasis, fuelled by their own self-important appraisals and stubborn refusal to acknowledge that evolution is a natural phenomenon, took the low road, rehashing previous winners in a distinctively average album. The Albarn-led Blur, however, took the higher road, challenging expectations and fashioning an album that tapped into pre-Grunge lo-fi and proto-alt rock. The annals of history will show the meteoric success of Oasis as the hallmark of mid-90s Britannia but Albarn and Blur were the true inventors of Britpop and the only band with the forethought to give it a proper burial. Again, with The Good, The Bad and The Queen, Damon Albarn has proved that there is no substitute for innovation and risk taking.

The Good, The Bad And The Queen is a textured and sprawling release. It swings from sprightly pop to harder-edged, rhythmic numbers with a general disregard for conformity. But regardless of the myriad of directions at play there is an overarching musical mood: a rich doom and gloom cloud that hangs like thick fog. Thematically, this gloom reflects an industrialised state, a modern London, where for all improvement and ingenuity there are still the same problems: “I don’t wanna live in a war/That’s got no end in our time” (‘80’s life’). Musically, Albarn’s vision is backed by ratty organ, eerie noises and minor melodramas – the key element being the ever restrained and familiar sound of Albarn’s wise voice.

‘History Song’ establishes this drab mood from the outset, lyrically reflecting the pessimism and certainty of history repeating: “If you don’t know it now then you will do.” By song’s end, the band have wandered from melancholic balladry to ambience and experiment, as backwards pianos and improvised guitars steer this dark ship. ‘80’s Life’ continues this tenebrous adventure. Its plodding piano sounding like a slow churned, Prozac-inflicted version of ‘Yellow Submarine’.

‘Northern Whale’ is the first hint of Albarn’s Gorillaz past. The simple rhythm of the song and its circular riff are embellished by tinkling piano and random bleeps and swells. While not indicative of the album, These Gorillaz references reappear with the memorable electronica of ‘Herculean’. The song unfolds in layers as Albarn voice hangs in the background inviting the listener into his tale of a bitter modernity: “The medicine man is here twenty four seven/You can get it fast in Armageddon.” The songs on The Good, The Bad And The Queen do not reflect the get-it-quick world of Albarn’s Armageddon. These are tunes built for repeat exposure and listeners who are willing to let a melody seduce them, rather than offer them easy rewards.

Originally touted as a solo release, Albarn has also exercised wise judgement in surrounding himself with such a complimentary team of musicians and producers. Of particular note is the virtuoso drumming of Tony Allen, whose jazz-infused, syncopated rhythms drive the circus psychedelia of ‘Three Changes’ and save it from being mere filler. And while Paul Simonon (Bass) and Simon Tong (Guitar) prove more than capable, it is the production of Danger Mouse that is the most essential non-Albarn element of this album. His button tweaking enables each song to exist not only as an entity in itself, but also as an important part of a greater tapestry. The brave decision to float Albarn’s voice in as part of the mix empowers his limited vocal range and ensures that no one instrument dominates the band’s sound.

The Good, The Bad And The Queen affirms Albarn as a musical venturer. While his post Britpop Blur period proved that he had the foresight to get off a sinking ship, here he and his supergroup are leading the listener into the London night and a bleak and bleary reality. Such a journey is not always melodic and easy, but it is an honest and well executed pilgrimage.