Gorillaz – The Manifesto Review

Gorillaz hasn’t sounded this good since Plastic Beach. Fifteen years since the band last sounded brilliant. Damon Albarn has not put a foot wrong yet with The Mountain, though just two songs are available currently. It won’t be until next year that fans have a chance to hear the new focus and direction, which seems to be a balance between the political undertones of a strong album like Plastic Beach and the nostalgia of having collaborative efforts with those no longer with us. Dennis Hopper and Mark E. Smith are listed in the credits of The Mountain, so it appears the archives have been pilfered. It’s not all collaborations with artists who died years ago, though, as The Manifesto proves. Tueno is a solid feature for this seven-minute single. Collaboration is key for Gorillaz now, with Albarn making it clear he wishes to expand his musical influence by working with interesting artists. Hardcore fans will be delighted at the riches The Manifesto adds to the group’s storytelling. 

Proof, too, is a nice nod to the history of the band. A verse from the late D12 rapper is well-placed. Using material from years ago is a tricky move, but Albarn walks the line of nostalgia bait and solid work from the past well. This is not just for the dedicated listeners who know Tueno appeared to perform Clint Eastwood in 2022, but for the passing fan who will pop into Gorillaz the same way they visit a favourite bar on holiday. It may be a brief encounter, but the intimate detail and love of the moment are what matter. Returning is even better, and for those who checked out of Gorillaz with their flimsier Song Machine and Cracker Island efforts, the two singles from The Mountain are rewarding listens. Gorillaz at their best is about pushing the fundamentals of their sound through collaborative efforts, and they do that here.  

The Manifesto, and by extension The Mountain, may be more of an Albarn-led trip through world music but he’s an excellent guide. Pairing the Tueno start and Proof middle ground means an inevitable transition for The Manifesto. Instrumentally, it’s a bit all over the place, but likeable all the same. That Dirty Harry nod in Proof’s archival work is a nice nod to a classic Gorillaz track and the transition back into Tueno’s lyrics, the instrumental rise, is handled well. Albarn seems keen to experiment with what the ever-expanding Gorillaz collective can do. Pair him with James Ford, the producer whose golden touch over the last few years has offered up more than a few modern classics, and Gorillaz fans are in safe hands. Albarn does the “flimsy Steve” bit with his “true” and “untrue” lyrical additions towards the end, adding a nice touch to the final moments.  

Gorillaz has, even in their worst moments, maintained an ambition which often stretches far beyond what we should expect of the Blur frontman. His deeper interest in music is what keeps The Mountain alive. It’s an ambitious project to say the least and pairing those past and present musical moments together is a wonderful occasion for Gorillaz. Albarn made it a little clearer before the album was announced as he performed the three classics in the band’s discography. The Mountain seems to be a gear shift moment, a chance for Albarn to focus on working with like-minded creatives whose overall influence is expanding into different genres. The Manifesto does as The Happy Dictator did, engaging with a thrilling new range of instrumental styles but keeping in mind those classic tones and tropes which make Gorillaz such a cultural institution.