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Plastic Beach
An artificial island rests on the ocean during a sunset. Apart from the base, it is mostly mushroom-shaped. It contains a few palm trees and small buildings. At the very top is a large white building with many windows. Other objects in and around the island include a ship, a buoy, a lighthouse and a crate. The artist name and album title both appear in the lower left corner of the picture.
Standard edition cover
Studio album by
Gorillaz
Released3 March 2010 (2010-03-03)
RecordedJune 2008 – November 2009
Studio
Genre
Length56:46
Label
ProducerGorillaz
Gorillaz chronology
D-Sides
(2007) 		Plastic Beach
(2010) 		iTunes Session
(2010)
Damon Albarn chronology
All the People: Blur Live at Hyde Park
(2009) 		Plastic Beach
(2010) 		iTunes Session
(2010)
Singles from Plastic Beach
  1. "Stylo"
    Released: 26 January 2010
  2. "Superfast Jellyfish"
    Released: 9 May 2010
  3. "On Melancholy Hill"
    Released: 12 June 2010

Plastic Beach is the third studio album by British virtual band Gorillaz, released on 3 March 2010 by Parlophone internationally and by Virgin Records in the United States.

Plastic Beach evolved from an unfinished project entitled Carousel, which Gorillaz co-creators Damon Albarn and Jamie Hewlett began conceptualizing in late 2007. Unlike previous Gorillaz albums which were recorded with outside producers, Albarn chose to self-produce Plastic Beach, recording from June 2008 to November 2009 in various locations including London, New York City, and Damascus. The album features a larger roster of guest artists compared to previous Gorillaz albums, including Snoop Dogg, Gruff Rhys, De La Soul, Bobby Womack, Mos Def, Lou Reed, Mark E. Smith, Bashy, Kano and Little Dragon.

A concept album, Plastic Beach adopts environmentalist themes, presenting the titular Plastic Beach as a "secret floating island deep in the South Pacific... made up of the detritus, debris, and washed-up remnants of humanity," inspired by marine pollution such as the Great Pacific Garbage Patch.[1] Musically, the album adopts a primarily electronic, synth-pop sound, with additional influences including hip-hop, funk and orchestral. As with other Gorillaz albums, Plastic Beach was promoted through various multimedia created by Hewlett, including interactive websites, animated music videos and short cartoons. The album produced three singles: "Stylo", "Superfast Jellyfish" and "On Melancholy Hill". Further single releases and promotion for the album were planned, but ultimately canceled due to budgetary issues.

Plastic Beach received mostly positive reviews upon release and was later named by several critics as one of the best albums of the 2010s.[2] The album debuted at number two on both the UK Albums Chart and the US Billboard 200 and reached the top 10 in 22 countries, though its sales ultimately underperformed those of the band's previous two albums. The album was supported with the Escape to Plastic Beach Tour and performances at various global music festivals, the band's first live performances performed in full, unobscured view of the audience.

Background

[edit]
[edit]

The creators of Gorillaz, musician Damon Albarn and artist Jamie Hewlett, began working on a new project in late 2007 titled Carousel,[3] which later evolved into Plastic Beach, the group's third studio album.[4] When asked about his top priority for 2008, Albarn replied, "Well, I'm doing the next Gorillaz thing, but it won't be called Gorillaz."[3] Hewlett further elaborated in a February 2008 Gorillaz-Unofficial interview, likening their vision to "how the Who presented their movies – Tommy and Quadrophenia and so on" with their films "presented as by 'the Who', even though none of the members of the band were in the movies. ... But it's the same people working on it".[5] In a July 2008 interview with The Observer, Hewlett added that Gorillaz became "more of an organisation of people doing new projects", and that Carousel would be "bigger and more difficult" than their previous endeavor Monkey: Journey to the West; he also stated Albarn had already written around "70 songs" during this time.[6] Carousel was to be about the mystical aspects of Britain.[4]

Well... originally [Carousel] was a film but now we think it's a film and it's a stage thing as well and... look, it's basically us doing what the fuck we want without worrying about whether it's for a record company or a film company or whatever.

– Co-creator Jamie Hewlett on Carousel

Concept

[edit]

Damon Albarn got the idea for Plastic Beach while on a beach next to his house: "I was just looking for all the plastic within the sand", he said.[4] On 17 September 2008, Albarn and Jamie Hewlett announced that they would be doing another Gorillaz album in an interview with CBC News.[7] Hewlett said that from their work on Monkey, "we just learned more about what we do, musically and artistically. That's a great place to come at when we come to another Gorillaz album. It doesn't have to be animation and music".[8] Hewlett also expressed annoyance at having to draw the band members again: "I'm so f---ing [sic] bored of drawing those characters. But then we had a moment where we had a new angle on it... I'm gonna adapt them".[7] In a later interview Hewlett said: "they'll be the same characters, but a little bit older and told in a different way".[9]

The first time Albarn went to Mali, he was taken to a landfill where he observed how differently rubbish was dealt with compared to England; he had previously visited a landfill outside London to record the sound of seagulls for the album.[4] In Mali, the landfill had "more snakes... like adders, grass snakes, slow worms, toads, frogs, newts, all kinds of rodents, all kinds of squirrels, a massive number of squirrels, foxes, and obviously, seagulls. [...] This is part of the new ecology. And for the first time I saw the world in a new way. I've always felt, I'm trying to get across on this new record, the idea that plastic, we see it as being against nature but it's come out of nature. We didn't create plastic, nature created plastic. And just seeing the snakes like living in the warmth of decomposing plastic bags. They like it. It was a strange kind of optimism that I felt... but trying to get that into pop music is a challenge, anyway. But important."[4]

Albarn said in September 2008 that he wanted "to work with an incredibly eclectic, surprising cast of people".[10] As with previous Gorillaz albums, Plastic Beach features collaborations with several artists; it features Snoop Dogg, Hypnotic Brass Ensemble, Kano, Bashy, Bobby Womack, Mos Def, Gruff Rhys, De La Soul, Little Dragon, Mark E. Smith, Lou Reed, Mick Jones, Paul Simonon, sinfonia Viva and the Syrian National Orchestra for Arabic Music.[11][12]

Possible sequel

[edit]

In October 2020, Albarn stated that he had "loads and loads of songs" for a direct sequel to Plastic Beach, citing "the need to keep reminding people that we need to change our habits" as his main reason for revisiting the album's themes. He added, "I'd like to just have an album called Clean Beach, but at the moment it's still Plastic Beach."[13]

Recording

[edit]

Albarn began recording material for a new Gorillaz album around June 2008.[14] He travelled to Beirut in March 2009 to record with the National Orchestra for Oriental Arabic Music.[15] The following month, he recorded with Derby-based orchestra sinfonia Viva.[15] Grime MCs Kano and Bashy, who feature on "White Flag", both had the flu during recording. Kano said, "We weren't feeling great, the music was out of our comfort zone, it could have been a complete disaster".[15] Bobby Womack knew nothing about Gorillaz and was initially unsure about the collaboration, however, his daughter liked Gorillaz and convinced him to do it.[16] Womack was told to sing whatever was on his mind during the recording of "Stylo". "I was in there for an hour going crazy about love and politics, getting it off my chest", said Womack.[15] After an hour of recording, Womack, a diabetic, started to pass out. He was sat down and given a banana, before waking up minutes later.[15] "Sweepstakes", the first song Mos Def recorded with Gorillaz,[17] was done in one take.[15] Mos Def described the song as "one of the greatest things as an MC that I've ever done".[17] Mick Jones and Paul Simonon completed their portion of the title track "Plastic Beach" in a day.[15]

"This record has only scratched the surface of [that] period of work and the sort of adventures we went on," he said. The unreleased material is "some really out-there stuff, which hopefully will see the light of day at some point". Among these is a song Gorillaz wanted to record with Engelbert Humperdinck. "He was supposed to do it, but then he declined, which was a real shame", Albarn explained to New York magazine. "It's a very dramatic song, very moving. Arabic strings. It's imagining Earth losing its gravitational pull and starting to fall". As it turned out, Humperdinck's manager had listened to the proposed selection and declined the offer for him without his knowing. Humperdinck later stated in an interview that his manager declining the collaboration offer was "the most grievous sin ever committed", and that he would have gladly collaborated with Gorillaz if he had known they asked.[18][19] With or without Humperdinck, Albarn insists the tune will eventually be released. "I'm going to finish that off", he said. "It just needs the vocal. We've made contact with Indian singer Asha Bhosle and I think it's definitely going to happen. I'll maybe duet with her; the song has these answering phrases".[20] The band were also rebuffed by former Sex Pistols' frontman John Lydon and Tom Waits.[21][22][23]

Several musicians who collaborated on songs for the album did not end up having all or any of their songs appear on the final album; some guests announced to have collaborated with the band do not feature on the album. British garage rock band The Horrors were invited to play on the album after Albarn heard their 2009 album Primary Colours.[24] They recorded a track with Albarn,[25] but no songs with the band appear on the final album. In an interview with Entertainment Weekly, Posdnuos of De La Soul said that the group had provided vocals on two songs for the album, "Electric Shock" and "Sloped Tropics".[26] De La Soul only features on one song on the album, titled "Superfast Jellyfish". Gruff Rhys recorded two songs – "Superfast Jellyfish" and "Leviathan". The latter, described by Rhys as "more of a night-time song, a three o'clock in the morning, speeding down the autobahn evading West German police-type track", does not feature on the album.[15] Mos Def said that he collaborated with Albarn on three songs;[17] however, Def only appears on two songs on the album. In a 2023 interview with Zane Lowe, Albarn confirmed the third song was called "Fresh Arrivals" and additionally featured Syrian dabke artist, Omar Souleyman[27] – the song was later re-worked as "Damascus" from the band's 9th studio album, The Mountain with both artists.[28] Albarn had previously announced that musician Barry Gibb would feature on the album but Gibb did not turn up to any recording sessions.[4]

Music

[edit]
Yukimi Nagano of Little Dragon features on the track "Empire Ants", with instrumental support from the whole group. Nagano (second from left) also contributes vocals on "To Binge".

According to The Times journalist Peter Paphides, Plastic Beach is a pop and concept album,[29] while AllMusic editor Stephen Thomas Erlewine said that "Damon's painstaking pancultural pop junk-mining" on the album posits hip hop with Britpop and "accentuates moody texture over pop hooks".[30] Pitchfork's Sean Fennessey wrote that "ornate Village Green Preservation Society-style pop" is the dominant style on Plastic Beach, but that Albarn also "dips into Krautrock, funk, and dubstep, as well as the weary, more melodic music he's been perfecting for much of last decade" on an album that serves as "sort of an electronic take on baroque pop."[31] According to Mojo magazine's Danny Eccleston, the album reprises the "combination of stupid-fresh pop melody, 21st-century hip hop substructure and catholic cast of collaborators" featured on Demon Days,[32] while Miles Marshall Lewis of The Village Voice observed "funky electroclash" and hip hop elements in the music.[33] Lawrence Vaughan of DIY saw it as combining "world music and a more subdued lo-fi electronic sound.[34] AbsolutePunk called Plastic Beach as a "full-blown trip hop/hip hop album",[35] while HipHopDX observed elements of soft rock and surf rock.[36] Kitty Empire described it as "rolling from space-age electro to mournful soul and back again."[37] Jessicka Lee Loduca of Exclaim! saw it as a demonstration of the band's "picturesque mishmash of rhymes, pop, disco, orchestration, blues and dark electronic beats.[38] Wired observed classical influences and world music overtones.[39] Noel Murray of The A.V. Club wrote that the record “chops up Bollywood, space-age lounge, stoner funk, and wistful music-hall.”[40]

Albarn said in an interview, "I'm making this one the most pop record I've ever made in many ways, but with all my experience to try and at least present something that has got depth."[4] He added, "I suppose what I've done with this Gorillaz record is I've tried to connect pop sensibility with ... trying to make people understand the essential melancholy of buying a ready made meal in loads of plastic packaging. People who watch X Factor might have some emotional connection to these things, this detritus that accompanies what seems to be the most important thing in people's eyes, the celebrity voyeurism."[4]

Albarn says the album maintains a lot of the melancholy from Carousel.[4] He worked hard on making his lyrics and melodies clear on the album.[4] "Loads of orchestral stuff" was recorded but only a fraction made it onto the final album.[4] On 14 January 2009, Damon Albarn appeared on BBC Radio 1 with animated bass player Murdoc Niccals, and played a selection of songs including four demos for Plastic Beach: "Electric Shock", which features Derby-based Orchestra sinfonia ViVA (a song which does not appear on the album, although certain elements of it were used in "Rhinestone Eyes"), the demo for "Stylo" (which was named "Binge" at that point) and the demo for "Broken".

Release and promotion

[edit]
On a black background is red uppercase text in a thick wavy font. The top line says "Gorillaz", the second line says "Plastic" and the third line says "Beach".
The Plastic Beach logo used in promotional videos

A new picture of the band was published on 9 December 2009 on the cover of the UK edition of Wired magazine. On 14 January 2009, Albarn made an appearance as a guest DJ on BBC Radio 1, premiering demos of three new Gorillaz songs – "Electric Shock", "Broken" and "Stylo".[41] "Stylo" was heavily edited for its final version, while "Broken" remained mostly unchanged. "Electric Shock" did not make the album, though samples of the song were used in "Rhinestone Eyes", as well as the intro orchestral separated into bonus track "Three Hearts, Seven Seas, Twelve Moons".

On 20 January 2010, the official Gorillaz website was heavily revamped to fit the Plastic Beach theme. Over a period of time, numerous short clips were posted on the site, mainly showing various shots of a large Plastic Beach model backed by segments of new Gorillaz music. Out of the 13 short clips, only two of the clips had audio that would eventually end up on the album. The tracks were "White Flag" and "Pirate's Progress" (an extended version of the Orchestral Intro found on the album). Also on the website was a countdown timer, which on 23 February 2010 counted down to zero. After a significant delay, a new full Kong studios-esque interactive Plastic Beach "Beachsite" was uploaded onto the website, opening certain sections of Plastic Beach to be visited by guests.

On 21 January 2010, Gorillaz member Murdoc "took over" NME Radio and Yahoo! Radio.[42] He played a 45-minute set of songs while providing exposition on the story of Gorillaz. A total of four broadcasts were uploaded online, leading to the release of the album. All four were available on the official Gorillaz website.

Similar to the previous album, short animated "idents" were released for fictional band members Murdoc, 2-D, Russel, and the Noodle cyborg. The first depicted Murdoc fleeing from an unknown, rifle-wielding assailant (featuring a clip of "Three Hearts, Seven Seas, Twelve Moons" in the background), and the second depicted 2-D's abduction and transportation to Plastic Beach by a masked figure, later revealed to be the Boogeyman (with a snippet of the instrumental version of "Rhinestone Eyes"). The track can be found as a bonus track along with "Pirate's Progress" on the iTunes Deluxe edition. Russel's ident had him stomping off of the edge of a pier and diving into the ocean, presumably headed to Plastic Beach for reasons unknown. The fourth featured a zoom in on Cyborg Noodle with its face plate open. A fifth ident was also released, showing a luxury cruise sail being bombarded by torpedoes coming from planes flying above it. A crew member rushes over to cabin 13 to warn a passenger, who is revealed to be Noodle (wearing the oni mask), that the cruise is under attack by pirates and he was told to escort her to the lifeboats. Noodle then grabs her briefcase and opens it, revealing a gun, and passes the crew member while heading out, presumably to face the pirates. Noodle's ident acts as a trailer to the "On Melancholy Hill" music video, which was released on 15 June.

On 26 February 2010, a "minimix" of the album was made available on the official website to download for free.[43] The minimix is an eight-minute composition of songs from the album, a number of which had not been previously released.

"Welcome to the World of the Plastic Beach", "Rhinestone Eyes" and "White Flag" were premiered on the Australian radio station Triple J on 28 February 2010, in respective order, at one-hour intervals. On 1 March 2010, NPR debuted the entire album via streaming.[44] Later that same day, the album also became available for streaming at Guardian.co.uk.[45]

Singles

[edit]

The album spawned three singles.

Originally, "Rhinestone Eyes" and "To Binge" were both slated to release as the 4th and 5th singles respectively.[49][50] However, both releases were cancelled in favor of the non-album single "Doncamatic". A storyboard version of a possible music video for "Rhinestone Eyes" was released on 4 October 2010 to the band's official YouTube channel.[51] Although it wasn't released commercially, the song peaked at number 35 on the Billboard Alternative Songs chart.[46]

Reception

[edit]
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?8.0/10[52]
Metacritic77/100[53]
Review scores
SourceRating
AllMusicStarStarStarStar[30]
The A.V. ClubB+[54]
Entertainment WeeklyB[55]
The GuardianStarStarStarStar[56]
The IndependentStarStarStarStar[57]
NME7/10[58]
Pitchfork8.5/10[31]
QStarStarStarStarStar[59]
Rolling StoneStarStarStarHalf star[60]
Spin7/10[61]

Plastic Beach debuted at number two on the UK Albums Chart, selling 74,432 copies in its first week.[62] The album also debuted at number two on the US Billboard 200 with first-week sales of 112,000 copies, of which 62,000 were digital copies.[63][64] As of 25 March 2010, Plastic Beach sold 8,136 copies in Japan and debuted at number 17 on the Oricon Albums Chart. Selling 13,822 copies in France, Plastic Beach debuted at number two on the SNEP albums chart.[65]

Plastic Beach received generally positive reviews from critics; it holds an aggregate score of 77 out of 100 at Metacritic.[53] In Rolling Stone, Rob Sheffield called it "Gorillaz's third excellent album in a row".[60] while Q magazine's David Everley described it as "some of the most forward-thinking pop you'll hear this or any year",[59] and Uncut's John Lewis said it was "a brilliant concept album, full of perfect pop singles."[66] Michael Kabran of PopMatters wrote that "the band's trademark brand of electro-funk-hip-pop is more focused, with tighter production and more sure-fire hooks."[67] Kitty Empire wrote for The Guardian that though the album's "electronic pop songs are more sneaky than sure-fire ... it is probably Gorillaz's most engrossing project so far."[37] AllMusic's Stephen Thomas Erlewine said the album's success depends on Albarn's growth as a composer: "he's a master of subtly shifting moods and intricately threaded allusions, often creating richly detailed collages that are miniature marvels."[30] Pete Paphides wrote in The Times, "this concept group has delivered its most fully realised concept album".[29] In the Chicago Tribune, Greg Kot was impressed by Albarn's ability to produce exceptional music using "seemingly mismatched elements from different cultures, genres and generations".[68] Alexis Petridis also of The Guardian commended Albarn for his "kaleidoscopic musical ambition" and said despite some failed experiments, "there's something hugely impressive about Albarn's ability to coax artists out of their comfort zone."[56]

In a negative review, Los Angeles Times writer Mikael Wood said that "too many of these 16 hazy, half-crazy tracks sound like undercooked studio goofs", panning its second half as "one long, jammy drone, with none of Albarn's melodic or lyrical gifts on display".[69] Danny Eccleston from Mojo commented that "Albarn and co's eco-parable is loud but not clear."[32] Entertainment Weekly's Leah Greenblatt viewed its "sonic drift" as "dull, and even dispiriting" in the album's second half, stating "In the end, Beach offers a vision of the future as digitised kitsch: groovy, yes, but lonely too".[55] Jon Caramanica of The New York Times viewed its music as "thin and inconsequential, car-commercial electronic funk and tension-free hip-hop", while writing "It's an appealing mess, moving at a fever pitch until swelling to something like an enthused climax. But still, a mess".[70] Writing for MSN Music, Robert Christgau singled out "Some Kind of Nature" and "Superfast Jellyfish" as "choice cuts",[71] indicating good songs on an album that he felt was otherwise unworthy of listeners' money or time.[72]

At the end of 2010, Plastic Beach appeared on several critics' top-ten lists of the year's best albums.[73] The album was ranked tenth best by both Hot Press[citation needed] and Slant Magazine,[74] ninth by Rockdelux,[citation needed] seventh by Q,[citation needed] sixth by Filter,[citation needed] fifth by State,[citation needed] fourth by Consequence of Sound,[75] and third by both Beats Per Minute[citation needed] and The Age.[76] It was also voted the 30th best record of 2010 in the Pazz & Jop, an annual poll of American critics published by The Village Voice.[77] In 2020, the album was ranked at 66 on the 100 Best Albums of the Century list by Stacker.[2]

Track listing

[edit]
Plastic Beach – Standard edition
No.TitleWriter(s)Length
1."Orchestral Intro"Gorillaz1:09
2."Welcome to the World of the Plastic Beach" (with Snoop Dogg)
  • Gorillaz
  • Snoop Dogg
3:35
3."White Flag" (with Bashy and Kano)
  • Gorillaz
  • Bashy
  • Kano
3:43
4."Rhinestone Eyes"Gorillaz3:20
5."Stylo" (with Mos Def featuring Bobby Womack)
  • Gorillaz
  • Mos Def
4:30
6."Superfast Jellyfish" (with Gruff Rhys featuring De La Soul)
  • Gorillaz
  • De La Soul
  • Gruff Rhys
2:54
7."Empire Ants" (with Yukimi Nagano)
  • Gorillaz
  • Nagano
4:43
8."Glitter Freeze" (with Mark E. Smith)
  • Gorillaz
  • Smith
4:03
9."Some Kind of Nature" (with Lou Reed)
  • Gorillaz
  • Reed
2:59
10."On Melancholy Hill"Gorillaz3:53
11."Broken"Gorillaz3:17
12."Sweepstakes" (with Mos Def)
  • Gorillaz
  • Mos Def
5:20
13."Plastic Beach"Gorillaz3:47
14."To Binge" (with Yukimi Nagano)
  • Gorillaz
  • Nagano
3:55
15."Cloud of Unknowing" (featuring Bobby Womack)
  • Gorillaz
  • Womack
3:06
16."Pirate Jet"Gorillaz2:32
Total length:56:46
Plastic Beach – iTunes Store bonus tracks[78]
No.TitleLength
17."Pirate's Progress" (also on the Japanese edition[79])4:01
18."Three Hearts, Seven Seas, Twelve Moons"2:14
19."Stylo" (music video)5:02
Total length:68:03

Sample credits

[edit]
  • "Superfast Jellyfish" contains samples from a Swanson advertisement for Great Starts frozen breakfast sandwiches and an episode of Natural World, "Sperm Whales: Back from the Abyss", narrated by David Attenborough.

Personnel

[edit]

Credits adapted from the liner notes of the Experience Edition of Plastic Beach.[80]

Musicians

[edit]

Technical

[edit]
  • Gorillaz – production
  • Jason Cox – recording, mixing
  • Stephen Sedgwick – recording
  • Josh Shultz – recording (track 2)
  • Chris Jackson – recording (track 2)
  • Ted Chung – recording (track 2)
  • Michael Makowski – recording assistance (tracks 5, 9, 12)
  • Howie Weinberg – mastering

Artwork

[edit]
  • J.C. Hewlett – artwork, design
  • Zombie Flesh Eaters – artwork, design

Charts

[edit]

Certifications

[edit]
Certifications
Region Certification Certified units/sales
Australia (ARIA)[137] Gold 35,000^
Belgium (BRMA)[138] Gold 15,000*
Canada (Music Canada)[139] Gold 40,000^
Denmark (IFPI Danmark)[140] 2× Platinum 60,000^
France (SNEP)[141] Platinum 100,000*
Germany (BVMI)[142] Gold 100,000‡
Ireland (IRMA)[143] Gold 7,500^
Italy (FIMI)[144] Gold 25,000‡
New Zealand (RMNZ)[145] Platinum 15,000‡
United Kingdom (BPI)[147] Platinum 345,223[146]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

Release history

[edit]

Plastic Beach was released in a total of six editions, many of which contain a multitude of exclusive features. These are shown below:

Standard edition Experience edition Japanese standard edition Japanese experience edition iTunes standard edition iTunes deluxe edition Vinyl edition
Standard 16 tracks Yes Yes Yes Yes Yes Yes Yes
Bonus track: "Pirate's Progress" No No Yes Yes No Yes No
Bonus track: "Three Hearts, Seven Seas, Twelve Moons" No No No No No Yes No
Stickers and poster No No Yes Yes No No No
Making of Plastic Beach DVD No Yes No Yes No No No
Access to exclusive online content[note 1] No Yes No Yes No Yes No
Lyrics No No Yes
(physical booklet) 		Yes
(physical booklet) 		Yes
(digital) 		Yes
(digital) 		No
Notebook Partial Yes Partial Yes Partial Yes No
"Stylo" music video No No No Yes Yes
Access to iTunes LP features No No No No No Yes No
T-shirt[note 2] Depends Depends No No No No No
  1. ^ Content such as wallpapers and screensaver(s) offered may vary depending on the edition.
  2. ^ The T-shirt offered varies depending on the edition.

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Plastic Beach

View on Grokipedia
from Grokipedia
is the third studio album by the British virtual band Gorillaz, released internationally on 8 March 2010 by Parlophone Records and in the United States on 9 March by Virgin Records. Conceived by Gorillaz creators Damon Albarn and Jamie Hewlett, the record revolves around a concept of "Plastic Beach," an artificial island formed from accumulated plastic debris in the ocean, serving as a metaphor for global environmental degradation driven by consumerism and waste. The album integrates diverse musical styles including electropop, art pop, and hip-hop, bolstered by contributions from guest artists such as Snoop Dogg, Bobby Womack, Lou Reed, De La Soul, and Hypnotic Brass Ensemble. Upon release, Plastic Beach achieved commercial success, debuting at number two on the UK Albums Chart—where it sold over 74,000 copies in its first week—and on the US Billboard 200. It has since accumulated over four million units sold worldwide, reflecting sustained popularity despite lacking the explosive sales of predecessor Demon Days. Critically, the album garnered praise for its ambitious production, thematic depth, and innovative fusion of genres, with reviewers highlighting tracks like "On Melancholy Hill" and "Rhinestone Eyes" as standouts in Gorillaz' discography. The project marked a pivotal phase in the band's evolution, emphasizing multimedia storytelling through accompanying visuals and an interactive online narrative that expanded the fictional universe.

Origins and Development

Pre-production for Plastic Beach originated in November 2007 when Gorillaz co-creators Damon Albarn and Jamie Hewlett launched an ambitious multimedia project titled Carousel. Initially envisioned as an anthology film comprising 15 short stories set on a pier, each narrative segment was intended to represent a distinct stage of human life, incorporating a mix of live-action footage and animation. Albarn positioned Carousel conceptually between the Gorillaz universe and his parallel project with The Good, the Bad & The Queen, emphasizing collaborative elements without direct performance by the virtual band. The Carousel concept proved overly complex for execution as a film, leading Hewlett and Albarn to abandon the cinematic format by mid-2008. Its musical demos and thematic foundations—particularly motifs of transience and coastal decay—were repurposed into Plastic Beach, shifting focus to an album that retained the pier's symbolic isolation while integrating environmental critiques of plastic pollution observed by Albarn near his residence. This pivot facilitated recording sessions commencing in June 2008 and extending through November 2009, primarily at Albarn's Studio 13 in London and other locations. The influence of Carousel on Plastic Beach manifested in structural echoes, such as segmented storytelling through tracks evoking life's phases, and sonic experimentation with orchestral swells and eclectic guest features that echoed the project's original collab-heavy intent. Hewlett later compared Carousel's anthology style to The Twilight Zone adaptations, underscoring its narrative fragmentation, which informed the album's thematic cohesion around artificiality and ecological ruin without diluting Gorillaz's virtual band lore. This evolution preserved core creative impulses while adapting to practical constraints, yielding a release on March 3, 2010, via Parlophone and Virgin Records.

Conceptualization and Environmental Focus

The concept for Plastic Beach crystallized early in its development when Damon Albarn proposed the title approximately three weeks into songwriting, which co-creator Jamie Hewlett identified as the pivotal catalyst shaping the album's direction. This notion drew from Albarn's real-world encounters with plastic debris, including sea-smoothed fragments observed during a seaside holiday and extensive accumulations in the Pacific Ocean, as well as documented cases like a Hawaii beach renamed for its plastic coverage. Albarn's online search for "plastic beach" further reinforced the theme, revealing polluted shorelines that metaphorically embodied consumerism's waste. The album's environmental emphasis critiques the lifecycle of human-generated rubbish, particularly non-biodegradable plastics polluting marine environments, without resorting to didactic messaging. Albarn aimed to embed these reflections subtly across the tracks, encouraging meditation on recycling and oceanic detritus to resonate with audiences, especially youth, amid broader apocalyptic undertones from prior Gorillaz works. In the band's lore, Plastic Beach manifests as a junk-constructed island at Point Nemo, the remote South Pacific point farthest from land, symbolizing isolated consequences of global waste. Additional inspirations included Albarn's witnessing of people and animals scavenging in a Mali landfill, evoking parallels between discarded consumer goods—like shrink-wrap and appliances—and their persistent environmental toll. Hewlett envisioned the titular beach evolving into a commonplace term for degraded coastlines in future generations, underscoring the project's prescient warning on plastic proliferation.

Integration with Gorillaz Narrative

In the Gorillaz multimedia universe, Plastic Beach marks Phase Three, known as "Escape to Plastic Beach," where the fictional band's storyline shifts to an isolated oceanic fortress constructed from accumulated marine debris. Following the destruction of their previous headquarters, Kong Studios, during Phase Two's apocalyptic events depicted in Demon Days (2005), bassist Murdoc Niccals—fleeing debts to criminal syndicates and threats from black-market dealings—discovers a mass of floating plastic waste at Point Nemo, the remote South Pacific oceanic pole of inaccessibility. Using proceeds from illicit oil contracts, Murdoc engineers the refuse into a habitable pyramid-topped island, dubbing it Plastic Beach and establishing it as his new lair by 2008. Central to the narrative integration is Murdoc's coercive reunion of the group: he orchestrates the kidnapping of singer 2-D (Stuart Pot) from a seaside caravan in the UK via speedboat, transporting him against his will to the island, where 2-D's initial despair evolves into reluctant participation in recordings amid the dystopian setting. Guitarist Noodle, having survived a rooftop sniper attack and subsequent ninja training in Japan during Phase Two, returns seeking confrontation with Murdoc over betrayals, arriving via helicopter after decoding clues from his transmissions; her arc involves reclaiming agency amid the island's perils. Drummer Russel Hobbs, haunted by the spectral possession of his deceased friend Del, pursues Murdoc separately, his journey intersecting with the others in a bid for resolution, though supernatural elements delay full convergence until promotional events like the album's 2010 release. This phase's plot unfolds through animated videos (e.g., "Stylo," "On Melancholy Hill"), in-character broadcasts such as Murdoc's Plastic Beach Pirate Radio (2010), and fictional press releases, emphasizing interpersonal fractures and Murdoc's manipulative dominance. The album's lore extends Gorillaz's signature blend of virtual biography and real-world commentary, with creators Damon Albarn and Jamie Hewlett using Plastic Beach to symbolize environmental collapse as a causal outcome of consumerism, while advancing character development: 2-D confronts addiction and passivity, Noodle matures into a warrior figure, and Russel grapples with loss, all against Murdoc's pyramid scheme of exploitation. Retcons in later phases, such as Noodle's survival and the island's assault by mysterious attackers post-album, refine but do not alter the core Phase Three establishment of Plastic Beach as a pivotal, garbage-forged sanctuary-turned-battleground, integral to the band's serialized mythos spanning music, visuals, and interactive media.

Production and Recording

Studio Sessions and Locations

Recording for Plastic Beach primarily occurred at Studio 13, Damon Albarn's personal facility located at Latimer Road in West London, England, where the bulk of the album's composition and production took place from June 2008 to November 2009. Albarn, serving as the main producer, handled much of the initial tracking and overdubs there, drawing from an extensive backlog of material originally conceived for the abandoned Carousel project. Additional sessions were held at Capitol Studios in Hollywood, California, and Chung King Studios in New York City to accommodate guest artists and specific track refinements, such as elements of "Stylo." These U.S.-based recordings facilitated collaborations with American contributors, leveraging the studios' advanced facilities for mixing and vocal sessions. Orchestral components for "White Flag," featuring the Syrian National Orchestra for Arabic Music, were captured at Dar al-Assad for Culture and Arts (also known as Al Assad Cultural Center) in Damascus, Syria, during a dedicated trip in early 2009. This session integrated traditional Arabic instrumentation into the track's arrangement, reflecting Albarn's interest in global musical fusion, though logistical challenges arose from the remote location and cultural context.

Key Collaborators and Contributions

Damon Albarn acted as the primary producer, composer, and performer for Plastic Beach, self-producing the album from June 2008 to November 2009 and providing vocals for the virtual band member 2D along with keyboards, guitars, and programming across multiple tracks. The album incorporates contributions from a diverse array of guest artists, enhancing its eclectic sound. Snoop Dogg provided lead vocals for the opening track "Welcome to the World of the Plastic Beach," introducing the album's environmental theme with rapped verses. Hypnotic Brass Ensemble contributed brass arrangements to the same track and others, adding orchestral hip-hop elements. Former Clash members Mick Jones and Paul Simonon played significant roles, with Jones on guitar and Simonon on bass for tracks including "Plastic Beach" and "Stylo," infusing punk influences into the reggae-inflected sound. Bobby Womack delivered soulful vocals on "Stylo," his performance marking a late-career resurgence following years of personal struggles. De La Soul featured on "Superfast Jellyfish," rapping over a beat constructed from junkyard percussion samples, while Mos Def (now Yasiin Bey) contributed rhymes to "Sweepstakes," emphasizing rhythmic interplay. Lou Reed provided spoken-word style vocals on "Some Kind of Nature," and Mark E. Smith of The Fall delivered erratic shouts on "Glitter Freeze," both adding experimental edges. Little Dragon's Yukimi Nagano sang on "Empire Ants," blending electronic and soulful elements in the track's dual-part structure, and Gruff Rhys of Super Furry Animals contributed vocals to "Plastic Beach." British rappers Kano and Bashy appeared on "White Flag," delivering verses amid Hypnotic Brass Ensemble's horns. These collaborations, totaling over a dozen artists, were integral to realizing Albarn's vision of genre fusion tied to the album's narrative of oceanic waste.

Technical Innovations

The production of Plastic Beach incorporated extensive live orchestral elements, recorded in multiple international locations to achieve a layered, cinematic soundscape atypical for electronic and hip-hop influenced albums. Damon Albarn traveled to Beirut in March 2009 to collaborate with the National Orchestra for Oriental Arabic Music, capturing traditional Arabic instrumentation that infused tracks with exotic textures. Similarly, in April 2009, sessions in Derby, England, with the sinfonia ViVa orchestra provided string and brass arrangements, notably for the album's opening "Orchestral Intro," which featured live horns, oboe, and other acoustic instruments blended into the electronic framework. These recordings represented a departure from prior Gorillaz works, emphasizing analog orchestral depth over purely digital synthesis, though only a fraction of the material was ultimately used due to the project's expansive scope. Analog synthesizers played a pivotal role in crafting the album's synth-pop and funk elements, with equipment like the Moog Voyager and Rhodes Chroma employed during studio sessions to generate rich, polyphonic chord progressions heard in tracks such as "Rhinestone Eyes" and "Stylo." These instruments contributed to the "full and colorful" synth tones, achieved through careful layering and processing that evoked a retro-futuristic vibe aligned with the album's dystopian theme. Recording engineer Jason Cox, known for his work on trip-hop records, handled mixing and integration of these elements, ensuring seamless fusion of live guest vocals—often captured in single-take or improvised sessions, like Bobby Womack's hour-long vocal improvisation for "Stylo" or Mos Def's one-take for "Sweepstakes"—with programmed beats and effects. Sampling techniques further innovated the production by repurposing existing material for structural and thematic purposes; for instance, a sample from "Electric Shock" was incorporated into "Rhinestone Eyes," while portions of its orchestral intro were isolated and reissued as the bonus track "Three Hearts, Seven Seas, Twelve Moons." This modular approach allowed for flexible recombination, reflecting the album's conceptual emphasis on recycled waste, and was facilitated by programming from Stephen Sedgwick, who assisted in recording and effects integration. Overall, these methods—combining global orchestral sourcing, analog hardware, and adaptive sampling—enabled a hybrid sonic palette that prioritized textural complexity over conventional pop polish.

Musical Elements

Genre Blending and Influences

Plastic Beach showcases Gorillaz's signature genre blending, fusing electronic pop with hip-hop, funk, and dubstep elements, while incorporating orchestral and global music influences. Damon Albarn's production draws on weary, melodic structures reminiscent of his prior work, reimagined through an electronic lens akin to baroque pop, featuring ornate arrangements and space-age electro textures. Hip-hop integrations appear via collaborations with artists like Snoop Dogg, Mos Def, and De La Soul, where rap verses meld with lush, synth-driven backdrops and mournful soul undertones. The album's influences extend to Krautrock's repetitive rhythms, funk grooves, and dubstep's heavy bass, creating dynamic shifts across tracks—such as glam stomp in certain cuts and grime-inflected edges. Global sonorities enrich the blend, with contributions from the Hypnotic Brass Ensemble's brass, the Lebanese National Orchestra for Oriental Arabic Music's exotic strings, kora from African traditions, and Chinese opera vocal styles, reflecting Albarn's broader explorations in projects like Africa Express. Classical elements and world music overtones layer atop looping electronic foundations, yielding a cohesive yet eclectic sound that prioritizes seamless genre transitions over rigid categorization. This approach underscores Albarn's evolution from Britpop roots toward hybridized, boundary-pushing electronica, evident in airy synths paired with twangy guitars and dry-throated guest vocals.

Song Structures and Instrumentation

Plastic Beach employs a range of song structures, often starting with atmospheric intros that transition into verse-chorus frameworks infused with electronic builds and breakdowns. Tracks like "Sweepstakes" were captured in a single take by Mos Def, preserving raw energy, while "Stylo" underwent extensive editing from its demo version to refine its hip-hop-inflected rhythm and narrative flow. "Broken," featuring Hypnotic Brass Ensemble, maintained its core composition largely unaltered, emphasizing melodic hooks over complex progressions. This variability allows for cinematic sequencing across the album, with some pieces like the "Orchestral Intro" serving as purely instrumental segues built on swelling strings. Instrumentation centers on synthesizers and electronic loops, providing a synth-pop foundation layered with hip-hop beats and funk grooves, as heard in brass-heavy openings. Damon Albarn handled primary performances, including keyboards and guitars, supplemented by drum machines for crisp percussion on tracks like "Rhinestone Eyes." Orchestral elements feature prominently, with recordings from sinfonia ViVA in Derby (April 2009) and the National Orchestra for Oriental Arabic Music in Beirut (March 2009) adding strings, woodwinds, and exotic timbres, though only select portions were utilized. Collaborators like Hypnotic Brass Ensemble contributed live horns for organic texture amid the synthetic palette, while bass lines—often played by Paul Simonon—ground the electronic expanse in rock roots. Over 70 demos were recorded, enabling eclectic integration of world music overtones and classical motifs.

Sampling and Orchestral Elements

The album Plastic Beach incorporates orchestral elements to evoke a cinematic and expansive atmosphere, particularly in its opening and select other tracks. The introductory track "Orchestral Intro" features a string ensemble performed by the British orchestra Sinfonia ViVA, based in Derby, United Kingdom, with conducting and orchestration by André de Ridder and additional orchestration by James Redwood. This piece, an edited version of the extended composition "Pirate's Progress," sets a melancholic tone reflective of the album's nautical and environmental themes, recorded during sessions in 2009. Similarly, the closing track "Cloud of Unknowing" employs Sinfonia ViVA strings, again conducted by de Ridder and orchestrated by Redwood, providing a symphonic resolution. "White Flag" includes orchestral contributions conducted and arranged by Essam Rafea, integrating strings with electronic and hip-hop elements. In contrast to Gorillaz's self-titled debut and Demon Days, which relied extensively on sampled loops and beats curated by producers like Dan the Automator, Plastic Beach minimizes traditional music sampling in favor of live recordings and collaborations. One exception is "Rhinestone Eyes," which incorporates vocal and brass elements sampled from the unreleased Plastic Beach-era track "Electric Shock" featuring Hypnotic Brass Ensemble, repurposed from early demo sessions. "Superfast Jellyfish" includes non-musical samples: a spoken excerpt from Sir David Attenborough's narration in the 1996 BBC documentary Natural World: Sperm Whales – Back from the Abyss, and audio from a Swanson frozen breakfast sandwich advertisement, the latter used with permission to underscore consumerist motifs. These selective samples align with the album's production shift toward organic instrumentation, including brass from Hypnotic Brass Ensemble and strings, recorded across studios in England and Syria.

Thematic Content

Core Themes of Pollution and Consumerism

Plastic Beach (2010) conceptualizes a dystopian seascape formed from accumulated plastic waste, serving as a metaphor for the global crisis of marine pollution driven by consumer discards. The album's narrative posits this "secret floating island" in the South Pacific as the endpoint of oceanic garbage gyres, where everyday plastics from packaging, bottles, and disposables converge due to currents and human overproduction. Damon Albarn cited personal observations of beach degradation—litter buildup on Devon shores visited since 1995—as a primary impetus, linking localized waste accumulation to broader systemic failures in waste management and production. Central to the album's critique is the causal chain from consumerism to ecological collapse: mass production of non-biodegradable goods fuels endless acquisition, overwhelming natural decomposition cycles and fragmenting into microplastics that persist indefinitely in food chains. Tracks like "Plastic Beach" and "Rhinestone Eyes" evoke this through imagery of corroded shores and illusory escapes, underscoring how advertising and convenience culture normalize disposability, externalizing costs to ecosystems. Albarn emphasized the sea's plight as a unifying motif, noting that contemplation of plastic's ubiquity informs the record's cohesion without didacticism. The thematic restraint—eschewing alarmism for immersive soundscapes—mirrors real-world data on plastic influx, estimated at 8-14 million metric tons entering oceans annually circa 2010, predominantly from land-based consumer sources. This approach critiques not mere pollution endpoints but upstream drivers: resource extraction, planned obsolescence, and profit motives that prioritize volume over durability. Scholarly examination of the lyrics reveals performative strategies amplifying potency, such as ironic hooks juxtaposing catchy melodies with decay motifs, prompting listeners to confront complicity in cycles of waste generation.

Alternative Interpretations and Critiques

Some analysts interpret the album's imagery of Plastic Beach not solely as a literal metaphor for oceanic plastic pollution but as a symbol of psychological fragmentation and existential isolation in a commodified world. For instance, the floating island's artificial paradise, constructed from detritus, has been read as representing protagonist 2-D's internal confusion and detachment, mirroring broader themes of personal disorientation amid global decay rather than a straightforward environmental allegory. This perspective posits the narrative arc as a journey through emotional wreckage, where consumerism's detritus symbolizes mental clutter over physical waste accumulation. Critics have questioned the effectiveness of the album's environmental messaging, arguing that its integration into upbeat pop structures dilutes the urgency of warnings about pollution and overconsumption. A 2023 study in Popular Music analyzed how Gorillaz' use of layered synths, samples, and guest vocals creates an immersive but escapist sonic landscape, potentially softening the critique of corporate waste-dumping and rendering lyrics like those in "Plastic Beach" more atmospheric than activist. The research concludes that while the compositional strategies enhance aesthetic appeal, they may reduce the persuasive force of calls against practices such as ocean garbage disposal by multinational firms, as evidenced by tracks protesting styrofoam and plastic proliferation. Damon Albarn, the project's creative lead, emphasized a non-preachy approach, describing environmental concerns as "gentle" elements "scattered and peppered" across the record to avoid didacticism, which some reviewers interpret as a deliberate choice prioritizing artistic subtlety over confrontational advocacy. This restraint has drawn critique for underplaying causal links between consumerism and ecological harm, such as the accumulation of 5.25 trillion pieces of plastic in oceans by 2010 estimates, in favor of vague melancholy. Alternative readings frame the themes as a broader indictment of capitalism's mental toll, where endless synthetic production fosters alienation from natural and human connections, extending beyond marine debris to societal "plastic people" divorced from authentic environments.

Lyrical Analysis and Character Roles

The lyrics of Plastic Beach primarily explore environmental degradation, consumerism, and human disconnection from nature, often framed through the virtual band's narrative of isolation on a garbage-constructed island. Damon Albarn, the project's creative force, described the songs as fitting into meditations on plastic and the sea, with environmental concerns "scattered and peppered" throughout but balanced by colorful, engaging elements to capture listeners' imaginations rather than preach. Specific tracks like "Superfast Jellyfish" parody fast-food culture and overconsumption, linking it to oceanic pollution through ironic samples and lyrics evoking disposable excess, while "Rhinestone Eyes" conveys an ominous artificiality with synthetic motifs underscoring ecological invasion. The title track itself symbolizes a floating mass of debris in the South Pacific, drawing from Albarn's observations of plastic-laced beaches in Devon, England, to critique melancholy consumerism and voyeuristic modern life. Character roles in the Plastic Beach storyline reinforce these themes, positioning the band members as archetypes navigating a post-consumer wasteland. Murdoc Niccals, the bass-playing Satanist and de facto leader, constructs the titular island from accumulated trash at Point Nemo—the ocean's most remote location—after going into hiding from debts and threats, embodying cynical opportunism by exploiting environmental ruin for his music empire. He kidnaps vocalist 2D (Stuart Pot) from a hospital following a car accident, forcing him into reluctant participation as the naive, wide-eyed singer whose lyrics often reflect passive victimization and escapist dreams amid pollution. Guitarist Noodle is absent in her human form, presumed dead after a raid on the band's previous headquarters; Murdoc replaces her with Cyborg Noodle, a robotic operative programmed for obedience, symbolizing dehumanizing technology and loss of authenticity in the narrative. Drummer Russel Hobbs attempts to reach the island by swimming but ingests vast amounts of toxic waste, mutating into a colossal entity towering over Plastic Beach, representing the overwhelming scale of pollution's consequences and his exclusion from the core group dynamic. This fictional polyphony—multiple voices including guest artists like Bobby Womack and Mos Def—amplifies the lyrics' political edge, using the characters' perspectives to layer irony and critique without overt didacticism, as Murdoc himself dismisses any explicit eco-messaging in favor of portraying "evolution" through waste. Albarn intended the overarching story to evoke a subtle apocalyptic tone, engaging younger audiences through narrative flow while hinting at doom tied to real-world climate disruptions observed during the album's creation. The band's isolation underscores lyrical motifs of cyberculture's rise and natural disconnection, with 2D's vocals often delivering detached observations that contrast Murdoc's manipulative drive.

Release and Marketing

Album Rollout and Formats

The rollout for Plastic Beach commenced in January 2010 with the release of a teaser video titled "Reflection," which introduced the album's concept and artwork. On 20 January 2010, Gorillaz announced key details including the album title, guest artists such as Snoop Dogg and Lou Reed, and a UK release date of 8 March via Parlophone Records. Additional promotional teasers and idents followed across the band's social media and online platforms from 19 to 31 January, building anticipation through animated vignettes tied to the album's environmental themes. The album was released on 3 March 2010 in Japan, 8 March internationally by Parlophone, and 9 March in the United States by Virgin Records. Parlophone handled physical and digital distribution in most markets, emphasizing multimedia tie-ins consistent with Gorillaz's virtual band aesthetic, though the core rollout focused on standard pre-order campaigns and early single releases like "Stylo." Plastic Beach was issued in multiple formats, including standard CD (16 tracks), digital download, and limited-edition variants. The deluxe "Experience Edition" comprised a CD paired with a DVD featuring a 45-minute making-of documentary and access to bonus online content. A gatefold CD bundled with a T-shirt was offered in the US market, while double vinyl pressings followed later, such as on 28 September 2010 for US audiences. Over 67 distinct editions exist globally, encompassing regional variants in CD, LP, and digital, with some iTunes-exclusive deluxe packages featuring alternate artwork.

Singles and Promotional Singles

"Stylo", featuring Bobby Womack and Mos Def (credited as Yasiin Bey), served as the lead single and was released digitally in January 2010, with physical formats including promotional CDs and vinyl following in February. The track blended funk, hip-hop, and electronic elements, supported by a music video directed by Jamie Hewlett and Bruce Brannock featuring actors Bruce Willis and Phil Cornwell as the animated characters 2-D and Murdoc. "Superfast Jellyfish", with contributions from Gruff Rhys and De La Soul, was issued as the second single primarily in promotional CD format in May 2010. The song's whimsical lyrics critiqued consumerism through metaphors of fast food and environmental degradation, accompanied by an animated video emphasizing the album's plastic pollution theme. "On Melancholy Hill" followed as the third single, released digitally on 12 June 2010, with remixes and promotional materials distributed concurrently. Its dreamy, synth-driven sound and nostalgic video, depicting the band's submarine voyage, highlighted themes of isolation and longing. Promotional singles included "Rhinestone Eyes", distributed on CD in 2010 despite plans for a full commercial release that were ultimately cancelled. The track's new wave-inspired production and lyrics evoking artificiality were intended to close the single cycle but faced delays linked to guest collaborator Lou Reed's dissatisfaction with his contributions, though Reed's version did not appear on the album. "White Flag", featuring Bashy, Kano, and the National Orchestra for Arabic Music, received a limited 10-inch vinyl release on 17 April 2010 as part of Record Store Day promotions. This orchestral hip-hop track underscored anti-war sentiments amid the album's ecological focus.

Visual Media and Campaigns

The visual media accompanying Plastic Beach centered on animated music videos for its singles, directed by Jamie Hewlett to align with the band's fictional narrative and the album's theme of a polluted oceanic paradise. The video for "On Melancholy Hill," released on June 14, 2010, portrays the virtual band members aboard their submarine encountering sea creatures and debris, underscoring isolation amid environmental decay. The "Rhinestone Eyes" video, issued as a storyboard film on October 4, 2010, due to production limitations, depicts apocalyptic destruction tied to the song's dystopian lyrics, with static frames animated minimally. Promotional visuals included the "Welcome to the World of Plastic Beach" teaser, directed by Hewlett and released to introduce the album's setting, featuring the constructed island environment. Hewlett also oversaw the creation of a physical scale model of Plastic Beach island by Asylum FX, used for reference in animations and promotional materials to evoke a tangible yet artificial utopia built from waste. Marketing campaigns emphasized multimedia integration, with early 2010 idents and advertisements teasing the album's lore through short animated clips. For the Escape to Plastic Beach Tour, a partnership with O2 launched on May 13, 2010, across television, digital platforms, and mobile, promoting priority ticket access for subscribers and featuring bespoke ads like the O2 Priority Walk spot. These efforts extended the transmedia approach, blending visual storytelling with commercial outreach to immerse audiences in the project's ecological critique.

Commercial Reception

Sales Figures and Market Performance

Plastic Beach recorded robust debut sales in major markets following its March 2010 release. In the United Kingdom, the album sold 74,432 copies during its first week. In the United States, it moved 112,000 units in the opening week, establishing a then-career high for Gorillaz. Global sales estimates place the album at approximately 4 million equivalent units, incorporating physical, digital, and streaming-adjusted metrics. Pure sales in tracked markets across six countries totaled 497,500 copies, led by 300,000 in the UK, 100,000 in France, and 40,000 in Canada. This performance marked a downturn from predecessors Gorillaz (7 million units) and Demon Days (8 million units), amid shifting industry dynamics toward digital consumption and reduced physical album dominance. The album earned a Gold certification in Canada for exceeding 40,000 units. It has not received RIAA certification in the US or BPI awards in the UK, consistent with its sub-platinum trajectory in those territories despite strong chart debuts. Market analysts attribute the moderated long-term sales to competition from streaming platforms and a five-year gap since Demon Days, though sustained catalog streaming has bolstered equivalent unit totals in recent years.

Chart Achievements

Plastic Beach debuted at number two on the US Billboard 200, with first-week sales of 112,000 copies, marking Gorillaz's highest chart entry in the United States at the time. In the United Kingdom, it entered the Official Albums Chart at number two, selling 74,432 copies during its debut week, and spent a total of 31 weeks in the Top 100. The album also topped the Official Album Downloads Chart for one week and the Official Dance Albums Chart for two weeks, accumulating 143 weeks on the latter. On the European Top 100 Albums chart, Plastic Beach reached number one, Gorillaz's third consecutive studio album to achieve this milestone. It topped national charts in Austria, Denmark, and the Belgian Flanders region, while peaking at number two in France and Switzerland, number three in Germany, and number four in Ireland. In Scotland, the album reached number four and charted for 43 weeks overall. Year-end performances included number 89 on the US Billboard 200 and number 40 on the UK Albums Chart. The album's chart success reflected sustained interest, with re-entries on UK physical and dance charts extending into 2025.

Certifications and Long-Term Metrics

Plastic Beach achieved Platinum certification from the British Phonographic Industry (BPI) in the United Kingdom for shipments exceeding 300,000 units, following its initial Gold certification awarded on April 16, 2010. No certification from the Recording Industry Association of America (RIAA) has been issued for the album in the United States as of 2025, despite first-week sales of approximately 112,000 equivalent units. Long-term metrics reflect sustained consumption through streaming and equivalent units. Estimates place worldwide equivalent album sales, including physical copies, digital downloads, and streaming equivalents, at around 4 million units. Pure album sales stand at approximately 900,000 copies globally. The album has accumulated over 2 billion streams on Spotify and more than 1 billion views on YouTube, contributing to its enduring digital footprint. Key tracks such as "On Melancholy Hill" have generated substantial equivalent sales from streams, exceeding 587,000 units each in equivalent album sales terms.

Critical and Public Response

Praise for Innovation and Production

Critics lauded the production of Plastic Beach, primarily helmed by Damon Albarn, for its lush orchestration and seamless integration of diverse sonic elements, including field recordings such as seagulls captured at a landfill for the opening "Orchestral Introduction." Albarn's hands-on approach marked a shift from prior Gorillaz efforts, resulting in what Pitchfork described as one of his "most gorgeous pop records in years," blending Krautrock, funk, dubstep, and an electronic interpretation of baroque pop with airy, elusive textures on tracks like "Empire Ants" and "To Binge" featuring Little Dragon. This production reversed the perceived inconsistencies of earlier albums, creating a cohesive 56-minute runtime that felt expansive yet accessible, with transitions from organic strings to detached 1980s synthesizers. The album's innovation was highlighted in its genre-melding and collaborative framework, establishing a "new benchmark for collaborative music," as per a BBC review, by effortlessly weaving luminaries like Bobby Womack, Mos Def, Lou Reed, and De La Soul into tracks that evoked 1980s synth-pop hybrids, such as "Stylo" merging soulful croons and rap over Gary Numan-inspired beats. Reviewers noted the "staggering" scope and depth, with Treble calling it an "incredible achievement" for its grandiosity made spectacular through accessibility, as styles meshed into a uniquely Gorillaz fabric without gimmickry. BBC further praised its daring unpredictability, exemplified by genre fusions like the "Shinto Bollywood" intro to "White Flag" and elastic pop on "Superfast Jellyfish" with Gruff Rhys, positioning Plastic Beach as potentially "the least predictable album ever made." Albarn's leadership was a focal point of acclaim, with Pitchfork observing he sounded "more comfortable as a leader here than he has in some time," transcending the project's postmodern artifice to deliver its "most affecting and uniquely inviting" work, including Scott Walker-inspired melancholy on "On Melancholy Hill." This innovation extended to the album's environmental conceit, realized through production that sonically evoked disposability and oceanic detritus, though critics emphasized the musical execution over thematic preaching. Overall, these elements contributed to Plastic Beach being hailed as "daring, innovative, surprising... and magnificent," standing among 2010's top releases.

Criticisms of Cohesion and Commercial Shift

Some critics contended that Plastic Beach suffered from a lack of sonic and thematic cohesion, primarily due to its expansive array of guest contributors and stylistic shifts across tracks. The album features appearances from over a dozen artists, including Snoop Dogg on "Stylo," Hypnotize on "White Flag," and Lou Reed on "Some Kind of Nature," which some argued fragmented the overall narrative rather than enhancing it. This eclecticism, while ambitious, led to perceptions of disjointedness, with abrupt transitions between orchestral swells, hip-hop elements, and electronic textures undermining flow. For instance, a review in DIY Magazine described the record as "inconsistent," noting that its departure from the more accessible structures of prior albums like Demon Days (2005) aimed at a narrower audience, potentially alienating broader listeners. The perceived commercial shift was another point of contention, with detractors viewing the heavy reliance on celebrity guests as a calculated move toward mainstream polish at the expense of Gorillaz's earlier experimental edge. Jon Caramanica of The New York Times critiqued the sound as "thin and inconsequential, car-commercial electronic funk and tension-free hip-hop," implying a glossy, advertising-like superficiality that prioritized star power over substantive innovation. This approach contrasted with the band's self-titled debut (2001) and Demon Days, which balanced quirkiness with hit-driven accessibility; Plastic Beach's emphasis on conceptual environmentalism and lush production yielded fewer radio-friendly singles, contributing to lower commercial performance, with global sales estimated at around 1.4 million units compared to Demon Days' over 7 million. Such critiques highlighted a tension between artistic ambition and market viability, though proponents argued the shift reflected Damon Albarn's evolving priorities toward multimedia storytelling over chart dominance.

Fan Perspectives and Debates

Fans have largely praised Plastic Beach for its thematic depth on environmental pollution and its eclectic production, often highlighting tracks like "Empire Ants" and "On Melancholy Hill" as emotional high points that evoke introspection about the band's evolution. User reviews on Metacritic reflect this enthusiasm, assigning an aggregate score of 8.6 out of 10 based on over 500 submissions, with 91% rated positive, indicating broad appreciation for its "subtle pop sermon on disposable living." Debates among fans frequently center on its ranking relative to earlier albums like Demon Days, with some attributing preferences for Plastic Beach to nostalgia among listeners who were teenagers at its 2010 release, while older fans view Demon Days as the creative peak due to its tighter cohesion and cultural impact. Others argue that retrospective acclaim overlooks initial divisiveness, noting that sales of approximately 1.4 million units marked a decline from the 7-8 million of prior albums, fueling perceptions of it as a commercial underperformer despite artistic merits. Criticisms from detractors include claims of disjointedness and overreliance on guest features, with some labeling it the weakest full-length album (excluding The Fall) for lacking the raw edge of predecessors, though such views remain minority amid dominant positive sentiment. Release strategy has also sparked discussion, as limited physical singles like "Stylo" reportedly hindered chart performance and broader accessibility for dedicated fans. On platforms like Rate Your Music, user reviews echo surprise at its quality, with averages around 3.9 out of 5, underscoring a consensus that it rewards repeated listens despite polarizing elements.

Legacy and Subsequent Influence

Cultural and Artistic Impact

Plastic Beach reinforced Gorillaz' pioneering use of multimedia storytelling, blending Damon Albarn's compositions with Jamie Hewlett's visuals to depict a dystopian paradise built on oceanic trash, thereby embedding environmental critique within pop culture narratives. The album's concept of a "secret floating island" constructed from plastic waste highlighted anthropogenic pollution's scale, using fictionality to amplify real ecological concerns without didacticism. This approach influenced how subsequent artists integrated subtle activism into genre-blending works, prioritizing narrative immersion over explicit messaging. Artistically, the record's eclectic production—merging synth-pop, hip-hop, orchestral swells, and world music elements—exemplified collaborative innovation, with contributions from artists like Snoop Dogg, Mos Def, and Little Dragon creating a polyphonic soundscape that mirrored global cultural interconnectedness. Such diversity positioned Plastic Beach as a microcosm of multicultural musical exchange, impacting perceptions of virtual bands as platforms for cross-genre experimentation. Its lyrical focus on identity amid environmental collapse further extended Gorillaz' thematic depth, fostering retrospective analyses of 21st-century existentialism in music. The album's environmental themes, though understated, resonated in cultural discourse on climate awareness, with compositional strategies like melodic hooks and performative irony enhancing the persuasive force of its anti-pollution message. By framing music as a unifying force against ecological ruin, Plastic Beach contributed to pop's evolving role in subtle advocacy, influencing later projects that balance artistic whimsy with causal realism on planetary limits.

Live Performances and Tours

The Escape to Plastic Beach World Tour supported Plastic Beach. The North American leg commenced on October 3, 2010, as part of a global campaign that began in July 2010 with European festivals, included the band's first headline performance at Madison Square Garden, and lasted until December. The tour featured dates across multiple continents, with a live band setup with projections of the virtual band members and guest artists from the album performing select tracks. Prior to the full tour, Gorillaz staged two complete album performances at London's Roundhouse in April 2010, shortly after Plastic Beach's release, marking early promotional showcases with full production elements tied to the album's oceanic theme. Festival appearances in 2010, such as at Glastonbury on June 25, previewed tour setlists blending Plastic Beach material with prior hits, drawing large crowds and emphasizing collaborative live renditions. In subsequent years, Plastic Beach tracks remained staples in Gorillaz's live repertoire during later tours, but full album revivals occurred sporadically; on September 2, 2025, the band performed the entire album live at London's Copper Box Arena as part of a series of one-off album-specific shows, reuniting elements of the original production and guests. These performances highlighted the album's enduring stage viability, with setlists averaging 20-25 songs including deep cuts like "White Flag" and "Sweepstakes" during the 2010 tour era.

Recent Anniversaries and Developments

In March 2025, Plastic Beach marked its 15th anniversary since its initial release on March 3, 2010, coinciding with broader celebrations of Gorillaz's 25th anniversary as a project. This milestone aligned with the 20th anniversary of Demon Days and the 5th of Song Machine, Season One, prompting fan discussions and retrospective articles highlighting the album's environmental themes and collaborative production. As part of the anniversary events, Gorillaz performed Plastic Beach in full during a series of limited-capacity shows at London's Copper Box Arena from August 29 to September 3, 2025, marking a rare complete live rendition of the album. These performances, tied to the band's 25th anniversary residency, featured guest artists and emphasized the album's conceptual "island" narrative through stage visuals. On January 30, 2025, the album's iTunes Deluxe Edition tracks—previously exclusive to that platform—were added to major streaming services worldwide, expanding access to bonus content like additional mixes and extending the album's digital footprint. This update followed sporadic reissues and remasters in prior years but represented a targeted enhancement for the 15th anniversary period.

Track Listing and Credits

Standard Track List

The standard edition of Plastic Beach, released on March 3, 2010, by EMI and Virgin Records, contains 16 tracks.
No.TitleFeaturing artistsDuration
1Orchestral Introsinfonia ViVA1:09
2Welcome to the World of the Plastic BeachSnoop Dogg, Hypnotic Brass Ensemble3:35
3White FlagBashy, Kano, sinfonia ViVA3:43
4Rhinestone EyesNone3:20
5StyloBobby Womack, Mos Def3:56
6Superfast JellyfishGruff Rhys, De La Soul3:15
7Empire AntsLittle Dragon4:38
8Glitter FreezeMark E. Smith4:00
9Some Kind of NatureLou Reed3:00
10On Melancholy HillNone3:49
11BrokenHypnotic Brass Ensemble3:16
12Sweepstakessinfonia ViVA3:51
13Plastic BeachNone3:48
14To BingeYukimi Nagano3:55
15Cloud of UnknowingBobby Womack3:06
16Pirate JetNone2:24
Durations are based on the original CD release and may vary slightly by format or remaster.

Sample Credits and Interpolations

"Welcome to the World of the Plastic Beach" incorporates a sample from the "Magic Mirror" scene in the 1937 Walt Disney animated film Snow White and the Seven Dwarfs. "Empire Ants," featuring Little Dragon, draws heavily from the theme music of the BBC science program Tomorrow's World, composed by Brian Gibberd, as confirmed in production notes attributed to the project's creators. "Rhinestone Eyes" employs audio samples derived from "Electric Shock," an unreleased Gorillaz recording featuring the Hypnotic Brass Ensemble, repurposed into its instrumental structure. Unlike the debut Gorillaz album, which relied extensively on sampling due to collaborator Dan the Automator's expertise, Plastic Beach minimizes direct samples in favor of live instrumentation, orchestral arrangements by Sinfonia Viva, and original compositions, with no verified interpolations—re-recorded recreations of prior works—identified across its tracks.

Personnel Breakdown

Plastic Beach was self-produced by Gorillaz, with Damon Albarn serving as the principal composer, performer, and creative director for the musical elements. Jason Cox handled recording engineering and mixing across all tracks, while Stephen Sedgwick contributed to recording engineering, programming, and additional mixing. Additional recording engineers included Ted Chung, Chris Jackson, and Josh Shultz for specific sessions, such as those involving Snoop Dogg. Mastering was completed by Howie Weinberg at Masterdisk in New York City. Sessions occurred at multiple locations, including Studio 13 in London, Capitol Studios in Hollywood, and Chung King Studios in New York, from June 2008 to November 2009. The album features extensive guest contributions, emphasizing collaborative vocals, brass, and orchestral elements. Vocal performers included Snoop Dogg on "Welcome to the World of the Plastic Beach," Bashy and Kano on "White Flag," Mos Def (also known as Yasiin Bey) on "Sweepstakes" and "Cloud of Unknowing," De La Soul and Gruff Rhys on "Superfast Jellyfish," Yukimi Nagano of Little Dragon on "Empire Ants" and "Revolving Doors," Mark E. Smith of The Fall on "Glitter Freeze," Lou Reed on "Some Kind of Nature," and Bobby Womack on "On Melancholy Hill" and "Pirate's Progress." Instrumental guests comprised Hypnotic Brass Ensemble providing brass on "Welcome to the World of the Plastic Beach" and "Cloud of Unknowing," Gabriel Manuals Wallace on drums for tracks including "Rhinestone Eyes" and "Broken," Gruff Rhys on additional guitar for "Superfast Jellyfish," Lou Reed on guitar for "Some Kind of Nature," Mick Jones on guitar and Paul Simonon on bass for the title track "Plastic Beach," and Simon Tong on guitar for "Empire Ants," "Glitter Freeze," and "On Melancholy Hill." Other contributions included Fredrik Källgren Wallin and Håkan Wirenstrand on keyboards for Little Dragon tracks, and David Coulter on mouth harp for "Pirate Jet." Orchestral elements were arranged for select tracks: Sinfonia ViVA provided strings for "Plastic Beach" and "On Melancholy Hill," conducted by André de Ridder with orchestration by James Redwood; the National Orchestra for Arabic Music contributed to "White Flag," conducted and orchestrated by Essam Rafea. Additional choral vocals came from The Purple, The People, The Plastic Eating People on "Some Kind of Nature" and "Pirate Jet," alongside sampled narration from Sir David Attenborough on "Superfast Jellyfish." Visual and conceptual direction was led by Jamie Hewlett, co-creator of Gorillaz.

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