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‘Intro’ essentially does exactly what it says it will – nothing more, nothing less. ‘All Alone’ is an upbeat electronic track in a similar style to ‘Last Living Souls’ utilising the same integration of classical elements, although to a lesser extent. The other tracks, it is a worthy addition to both artists discographies. ‘November Has Come’ features underground rapper MF DOOM, and while it features none of the relentless experimentation of ‘Last Living Souls’ is a bizarre electronic venture which eventually includes piano and violins, incorporating them into the main section of the song. However, simply looking at Demon Days’ singles is vastly underestimating its potential. A more dance-oriented outing for the album, it sustains an extremely danceable sound while adding extra flourishes throughout. ‘DARE’ – another single – also vies for the position of best track, and rightly so. Don’t hesitate in finding out why – it’s intricate, intelligent, and incredible. Behind the stellar Clint Eastwood, it is one of Gorillaz most popular songs. This aggression only amplifies in the stunning ‘Feel Good Inc.’, which blends a calm, acoustic melody, and a dirty hip-hop beat with one of the most memorable bass lines ever recorded. ‘Dirty Harry’ is catchy and creative, with a hint of aggression (apt considering its subject matter was the destruction caused by war and its effect on youth). The standout tracks on this album are undoubtedly the singles – specifically the spectacular one-two knockout punch of ‘Dirty Harry’ and ‘Feel Good Inc.’, which fuse a variety of different genres (such as electronic, rock, rap, classical) while still sounding distinctly like Gorillaz. Demon Days taught the world that Damon Albarn’s (of Blur fame) strange deviation was worth paying attention to. Before this album, Gorillaz were a joke – with only one truly successful hit (Clint Eastwood) and the apathy of the music press. Such an amazing album could not have come from such an unlikely place.