There’s not much rapping to be found, but Mos’s in-and-out functions to wrap the track in its own uncertainty, praying that a burnout is nowhere near as it appears we’re headed straight for it. But this everlasting journey is the very thing leading us to “overload,” echoed by 2D and Bobby Womack prescribing that love as a cure to the struggle. Fitting in the track’s narrative of navigating love in an overpopulated world, love becomes electric as we seek the perfect source of energy to harness that love. Mos came through with the juxtaposition of heavy imagery in only eight bars, managing to cover our dependency on technology to the point where we believe we can control the weather. Nonetheless, De La Soul’s long found a home on Gorillaz records to mesh their strange charms in matrimony this tale of a radioactive sea and things that taste like chicken fits right at home with this lineage. So much so, the jellyfish/breakfast metaphors get a little too lost in translation. The bars are a bit more relaxed this time around, with some of the imagery leaving almost all of the message to the listener’s imagination. One-part food-industrial complex critique, one-part music industry takedown(?) this record is a Surgeon General’s warning on a microwaveable breakfast box, disguised as the first stage of guilt during an acid trip. There’s a funny reference to Honey, I Shrunk the Kids! and an image of Heaven’s VIP section, though the concepts aren’t the most fresh or expansive on typical ideas of an ideological safe haven. The two sync perfectly in articulating the uncertainties beneath their wonder. It’s a testament to the sonic and stylistic collaging found across the Gorillaz catalog: two popular grime artists trading bars about paradise while being backed by The Syrian National Orchestra for Arabic Music. In the context of Plastic Beach, Bashy and Kano trade bars about discovering an island utopia to refresh and reframe their lifestyles, leaving the old world behind. But they still work so damn well that forgiveness is inevitable, even if he’s first on the beach and last on this list.
He sticks to the grander themes of oceans and pollution metaphors - and it’s an intro, we can’t expect him to run off with the whole concept - but his images of smoking weed with pilgrims and a bubble bath just don’t work that well.
While Uncle Snoop’s slick talk makes damn near anything sound good, his appearance in the Gorillaz universe is one of the rare times where he can come off corny to his detriment. Snoop Dogg)īig Snoop Dogg graced the intro of Plastic Beach on a bed of psychedelic G-funk that ended up much more form than function. "Welcome to the World of the Plastic Beach" (feat.
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