Only Way Out of This Band Is in a Coffin
The Sun, May 2005
They signed a mega-bucks deal, released a six million-selling self-titled album, stormed the 2002 Brit Awards... then disappeared. So what happened to Gorillaz - the virtual band that's also Damon Albarn's side project? There were rumours of break-ups, gun fights and jail sentences - non substantiated. Now, shrouded in a boozy mist of gun smoke, comes hit single Feel Good Inc and amazing new album Demon Days. Jacqui Swift hunted down the band - Russel, Noodle, Murdoc and 2D - to their Kong Studios HQ and asked: What's going on?
You're touring the States in the summer - what will be on your rider? How many bananas do you get through a day?
Russel: I’m not sure that any dates are confirmed yet. We’re still looking at set designs and ways of doing a live show that’ll really blow your mind.
2D: I came up with an idea that maybe we should be like…animated. It’d be a really different way of a band playing.
Murdoc: Nah…that’ll never work.
Russel: But ‘Gorillaz/banana’ jokes aside, food on the rider has always been an important issue for us. It’s important to have a good diet on the road.
Murdoc: I love a good Indian.
2D: I was told you loved a good Mexican.
Russel: But that was only while he was in jail and we agreed not to mention that ever again.
Murdoc: Er.. Would you two shut up now.
It’s taken four years for you to return with the follow up to Gorillaz – why did it take so long?
Russel: Well, in fact as a unit we’ve been working for a long time. We toured that last album, and then there was a long period while we were in LA working on a Gorillaz film. After that there was a period where we went our separate ways, before regrouping for this record.
Noodle: Also to create an album that is focused and has a purpose is something that takes time and consideration. To release something just for the sake of it, is adding to the problem rather than being the solution. It can’t be rushed or you end up with something substandard.
Murdoc: You sound like that Dutch bloke from The Grolsch adverts, Noodle.
You first started to record this in L.A before returning to Kong Studio. Were there too many distractions in L.A (as I heard that 2D struck up a friendship with Stallone while Murdoc was partying at the Playboy mansion)?
Russel: We were meant to be making a Gorillaz movie in LA. But it fell through. Originally the second album was going to be a soundtrack for this movie, but since the film didn’t happen we changed our minds. We went out to Hollywood to work on the film but just got caught up in rehearsals, meetings, script approvals ... but the situation went downhill from there. No-one was focused enough. 2D couldn't understand the difference between film and reality. Murdoc got himself kicked out of the Playboy Mansions for stealing ashtrays. So, eventually we decided to cut our losses and take time off to recuperate.
Noodle, you are credited as being the brains behind this album. Why did you take a central role on this album?
Russel: It was Noodle who first got back to our HQ Kong Studios, where we live and record. She had been in Japan, searching for the truth behind her history. Once she got back from there that’s when she started laying down the groundwork on the next album, for all of us. She had such a clear vision that it was best to let her see it through, y’know what I’m saying.
Noodle: Once my memory had been regained, it caused an explosion in my senses! Now understanding so much about the world and western culture, I was filled with an urgency to complete these songs. To make a statement, and see the tracks to their proper conclusion. And as I express myself best through music within the structure of this band Gorillaz, it seemed natural to make a new album.
Murdoc: Well, I’m writing the next album. I would have done this one if I hadn’t been in jail. But I basically told Noodle what I think it should sound like anyway.
Noodle, you suffer from amnesia – how do you remember the new songs and old music you have to play? Do the others ever get impatient with you?
Noodle: Er… My memory is now fully regained, during the period after the film I returned to Japan to search for my past, the one I could never remember. This was when I discovered the reasoning behind my memory loss and more of the truth that had been hidden. It was revealed to me that I was one of 23 children trained as part of an elite crack team for the Japanese government at a secret military compound! Also every child was given a special individual skill of their own. I was taught as a musician, my specialized instrument was guitar, but I became completely fluent in all instruments. The real purpose of our training was as a junior fighting militia. However I have never had any difficulty in remembering songs, old or new.
You all went your separate ways recording this album – did you ever get close to splitting up?
Murdoc: Hey, the only way to leave Gorillaz is in a coffin. No-one walks out on this one.
Noodle: Completing this album was the very best way to keep the band together. I think with the first album we did a lot of groundwork in establishing the seeds of ideas, ambitions. But without this follow up the young sprouts of inspiration will wither and die.
How does Demon Days compare to Gorillaz? How and why is it much darker and why the title Demon Days?
Noodle: The album was initiated and recorded under a dark backdrop. I would suggest that this essence must be reflected in the music. We are mirroring the transition that we see in the world. Also, every member of Gorillaz has changed greatly since the first album as we have all experienced so much. This has been reflected in the sound of the second album. We also worked with many different collaborators for Demon Days. This may also explain some of the diversity, and maybe some of the grime you see floating in the colour palette. The title has many meanings. Its interpretation is completed by the instinct of the listener. The moment we live in has agitated this slumbering giant, the dormant illness. These are the Demon Days we exist in.
What did Dangermouse bring to the recording of the album (and where was Penfold?)
Noodle: I was impressed with the work he had done on his own 'Grey Album' which I had downloaded from the Internet, during one of my late night cultural recognisance missions. On ‘The Gray Album’ Mr Mouse had spliced together the work of the Beatles ‘White Album’ and Jay Z’s ‘Black Album’, to create something brand new. It was his commando attitude, and artistic bravery that I thought would fill that gap in our army for the next mission. I called EMI and left specific instructions: 'I want Dangermouse to produce next Gorillaz album.’
Russel: We would never be so flippant with our music as to choose a producer for any other reason than a mutual love and respect for music, and an incredible ability to execute the vision they had for the album.
Murdoc: Yeah. The name Dangermouse was just a bonus.
Who is the disciplinarian of the band when it comes to recording?
Noodle: A disciplinarian is an unnecessary position for anyone in Gorillaz. We all know how to turn up on time, and play to the correct standard, as this is the thing that we love to do. We need no coach.
Was there still a battle for control between 2D and Murdoc. Has there been any change in your love/hate relationship?
Murdoc: There’s no battle for control in this band. I’m the leader and what I say goes. Although with 2D, he stands up for himself much more these days. Which is better for me ‘cos it means I can knock him down harder. No, seriously, apparently, after the band went their own separate ways when the film deal collapsed, he had to grow up a bit, learn to stand on his own two feet. Instead of just standing on mine. So he went back home to his Dad’s place off the coast of England and got himself a job. Became a big boy. He’s still a twerp though.
Russel: I guess every band needs someone with Murdoc's kind of attitude. It looks great on paper but it's not too easy do deal with on a day in day out kind of basis. Also it's a little like complaining about gravity. It can't be changed and it'll just bring you down.
Noodle: I think Murdoc is a clown, with his attitude. Very comical! He doesn't see how many elements have to work together in order to make it work. Unfortunately I think his shallow attitude is one of those elements. He only sees himself. But that is why I like him so much as he is a unique and individual character. It is best not to take him too seriously.
2D: Especially as I think it's more to do with my good singing voice that really makes this band so special.
Murdoc: You wish.
You have teamed up with Shaun Ryder on Dare. How did you meet him and what was working with him like (and where was Bez?)
Murdoc: Shaun’s an old friend of mine. Noodle has this track that needed a different voice to deliver it rather than 2D’s so I suggested bring Shaun in. Working with him is always great. Sure he has his own...er…unique way of working but he always delivers the goods, so that’s just cool with me.
Sean Ryder - the weight, the Peter Kay video - are you sure he was the right choice?
Murdoc: Check the track out and make your own mind up. Although if you disagree, you’re probably mental. And if weight was an issue we wouldn’t have a drummer. I mean have you seen the shape of Russel.
Russel: We contacted Shaun Ryder to work on the album because we knew he’d fit with the track. As a lyricist Shaun Ryder was one of the only true voices and documenters of that late 80s/early 90s period. You can tell he's an original because he spawned so many imitators. Not just musically but in his lifestyle and the way he spoke, right down to his sense of humour and taste in clothes.
Murdoc, so you're a Satan worshiper and have also worked with D12 – How did Sean Ryder, rate?
Murdoc: Hey I worship noone! I’m more of… an appreciator. But your questions leap about a bit. Are you suggesting that Shaun's a cross between D12 and Satan. That’s a...er...odd image.
You have Dennis Hopper reading on Fire Coming Out Of A Monkey’s Head. How did you meet him and what’s that song all about?
Russel: Noodle ran into him at some award show and it turns out he knew some Gorillaz tracks already. We told him what we were working on and then took it from there. He's always been a symbol for a certain type of expression and free speech that suited the track we were working on. So he seemed a relevant choice for Gorillaz.
Murdoc: And, right, also he's got some killer bikes.
Russel: Seriously though, the track we asked him to narrate needed a certain type of voice and delivery to make it work. It worked out really well.
Noodle: The track is about opening your eyes, and not letting your innocence leave you unguarded. In the track certain people infiltrate a nation who have no concept of war or aggression, so when they get attacked they have no idea how to deal with it. However, it causes a collapse for both them and their aggressors. An empty victory.
Is it true Larry Hagman was second choice to him. Any regrets on not having JR Ewing instead?
Russel: There’s no regrets, but it’s true - Larry was our backup plan.
Noodle: The song, albeit under a disguise, is a parable about the true intentions of a certain nation to submit their will onto others under the disguise of some other reason. We thought for this reason that Larry Hagman may be in the correct position to narrate this, as he had also expressed his position as an Anti-war campaigner.
Murdoc: Look mate, without drawing to much attention to this issue, if the guy who played the oil baron ‘J.R. Ewing’ in ‘Dallas’ says the situation in Iraq was about oil, I’m gonna take his word for it. He knows a lot more about the stuff than me or you.
You also work with Ike Turner – What was it like working with him?
Murdoc: We sent him a tape and he played on it and sent it back. Russel had formed a pretty close bond with him, when he lived in Ike’s basement for a year. That was after you went all nuts wasn’t it Russ?
Russel: The piano solo on the outro of the track ‘Every Planet We Reach Is Dead’ is supplied by Ike. It's real easy to forget the influence that Ike Turner had on music. I mean, James Brown learnt of lot of his showmanship and work ethic from Ike & his Kings of Rhythm band very early on. Ike's 'Rocket 88' in 1951 is widely regarded as being possibly the first true rock n' roll record.
Murdoc: He really lets loose on the piano at the end of our track.
2D: Yeah. He’s really knocking … seven shades of shinola out of that keyboard, isn’t he?
How did Ike get to look after Russel and why did Russel lose his senses?
Russel: Ike Turner was real good to me. When the spirit of Del left me, I had my..er..breakdown in LA and it was Ike who picked me up again. He literally found me passed out on the sidewalk, helped me up and allowed me to live in his basement. It was him who guided me back to my first love, music. He supplied me with the instruments and tools to start what I thought would be the greatest Hip-Hop album ever made…like a breakbeat Sgt. Peppers.
Noodle: The solo album that Russel was working on is a very sensitive subject.
Russel: The album took on a life of it’s own. I was convinced that it was responsible for all of the troubles in the world. What started out as being a musical declaration of peace, love and harmony, grew and grew into an...evil, dark and malevolent creation….
When you made Clint Eastwood you said you were sick of answering questions about Clint Eastwood - why have you made a song called Dirty Harry then?
Noodle: The two songs are not related in any other way, other than a slight humorous connection in the title.
Murdoc: Clint Eastwood’s going to think you’re stalking him
2D: Especially when ‘Magnum Force’ comes out.
2D you have become good friends with Shane Lynch – what do you have in common? Did he try and rope you into being Ronan’s replacement on the Boyzone tour?
2D: Well I stayed in LA for a month or two after the film thing, but I was knackered. I thought 'Sod this I’m going home, back to my Dad’s place in Eastbourne.' Coming home was, like, a revelation. The good old days all over again, like being a teenager, but like with all the brains and front of being a grown up. I hooked up with Shane Lynch from ex-Boyzone, and me and him just sort of took Eastbourne over. We were both working at my old man’s fairground, and y’know, a couple of free rides on the Waltzer and girls would be all over you. So I had a brilliant time. But y’know Gorillaz ain’t something you can just walk away from, so I came back to do my vocals on the album. I wouldn’t leave Noodle and Russel to deal with Murdoc on their own.
2D - There's a pile of vinyl in your bedroom - what are you listening to?
2D: I listen to all sorts; Clash, Buzzcocks, Wire, Das Kuntzen Bottz, Kraftwerk. I like a lot of New Wave stuff and bits of Krautrock. Loads of stuff.
There's also a Fred Dibnah poster - what is it about his work that you enjoy?
2D: Er...yeah...Some joker put that up with bluetack when I wasn’t looking.
Surprised to see a Zutons poster in Murdoc's room – are you all big fans?
Noodle: The Zutons are a great band. They’ve got a really genuine feel to their music. And live they’re great too.
Murdoc: Hmm…The saxophone player is very...talented too. If I was pushed, I would have to say she’s probably my favourite Zuton.
Do you consider yourselves the new Monkees?
Murdoc: I wouldn’t even suggest that they're a demo version of us.
The new video is technically brilliant - any plans for a Gorillaz film? What would the plot involve and who would co-star?
Murdoc: Blimey, the whole reason why we’re even back in England having made a new album is because we got dragged through a year-long car-crash that was the attempt of making a Gorillaz film. Have you seen ‘Lost In La Mancha’, Terry Gilliam’s film about how the collapse of making a film? Well, for us it was like that times 20, on ice.
Have you fallen out with Dan the Automator? Where is he?
Russel: I think something about the Kong Studios building kinda crept into his soul and freaked him out a little. Hence why he passed the producer’s crown over to Dangermouse for this record.
Murdoc: He’s probably hiding in one of the corridors somewhere, ready to jump out on us at any moment.
2D: Yeah, I did hear him say something about ‘wanting to kick your ass’.
We heard that Murdoc has started selling 2D’s possessions on eBay – How much has he made and has 2D got anything back?
Murdoc: Someone bought a nice pair of 2D’s golf shoes the other day. As a sideline to the day job in Gorillaz, it’s doing really well. Keep your eyes peeled for more hot bargains coming soon! Actually there’s something pretty special coming any day now.
2D: You still haven’t explained how I got that big scar on my stomach. You better not be serious about selling my liver on eBay.
Your pal Damon Albarn has said the new album is 'the world in a state of night time' - a.) do you think he's right? b.) what the hell does he mean?
Noodle: In a sense he is right. With the Demon Days being upon us, some of us are losing more of the morning by living more in the night. The balance needs to be re-addressed.
How do you feel about Damon taking all your glory with Dangermouse at South By South West. What was his part in the record?
Russel: Both Damon & Dangermouse gave us a lot of support in making this album. There’s no way, despite the devastating skills that Gorillaz have as a band, that this album would have coming out sounding as it does without the work that they did. I feel it’s right for them to talk about their input in its creation. Also, Gorillaz have always tried to do as little live TV promotion as possible, in order to keep the mystique, so in a way they’re kinda helping us out.
Murdoc: Well, the thing about Gorillaz is that so many people involved in it just feel a need to overplay their part. If Damon Albarn and Dangermouse want to swan around Texas telling people that they made the album, fine. It just highlights their desperate lust for glory really.
There’s only four people who are responsible for making that record. Me, Noodle, Russel and er…2D. And to be honest, mate, I’ve even got my suspicions about some of them.
Russel: We asked them both to be the ambassadors for the ‘Demon Days’ album. Having had more of a first-hand insight into its creation they are in a perfect position to represent it to the outside world. Both Damon and Dangermouse are real music lovers so I’m sure they can talk about the album with integrity.
Murdoc: Well, Damon gave 2D all that vocal coaching and now he sounds like he’s doing an impression of Damon’s voice half the time. If we don’t push the guy out the studio, we're gonna end up sounding like … I dunno … one of Damon’s side projects. You know what I mean?
You're touring the States in the summer - what will be on your rider? How many bananas do you get through a day?
Russel: I’m not sure that any dates are confirmed yet. We’re still looking at set designs and ways of doing a live show that’ll really blow your mind.
2D: I came up with an idea that maybe we should be like…animated. It’d be a really different way of a band playing.
Murdoc: Nah…that’ll never work.
Russel: But ‘Gorillaz/banana’ jokes aside, food on the rider has always been an important issue for us. It’s important to have a good diet on the road.
Murdoc: I love a good Indian.
2D: I was told you loved a good Mexican.
Russel: But that was only while he was in jail and we agreed not to mention that ever again.
Murdoc: Er.. Would you two shut up now.
It’s taken four years for you to return with the follow up to Gorillaz – why did it take so long?
Russel: Well, in fact as a unit we’ve been working for a long time. We toured that last album, and then there was a long period while we were in LA working on a Gorillaz film. After that there was a period where we went our separate ways, before regrouping for this record.
Noodle: Also to create an album that is focused and has a purpose is something that takes time and consideration. To release something just for the sake of it, is adding to the problem rather than being the solution. It can’t be rushed or you end up with something substandard.
Murdoc: You sound like that Dutch bloke from The Grolsch adverts, Noodle.
You first started to record this in L.A before returning to Kong Studio. Were there too many distractions in L.A (as I heard that 2D struck up a friendship with Stallone while Murdoc was partying at the Playboy mansion)?
Russel: We were meant to be making a Gorillaz movie in LA. But it fell through. Originally the second album was going to be a soundtrack for this movie, but since the film didn’t happen we changed our minds. We went out to Hollywood to work on the film but just got caught up in rehearsals, meetings, script approvals ... but the situation went downhill from there. No-one was focused enough. 2D couldn't understand the difference between film and reality. Murdoc got himself kicked out of the Playboy Mansions for stealing ashtrays. So, eventually we decided to cut our losses and take time off to recuperate.
Noodle, you are credited as being the brains behind this album. Why did you take a central role on this album?
Russel: It was Noodle who first got back to our HQ Kong Studios, where we live and record. She had been in Japan, searching for the truth behind her history. Once she got back from there that’s when she started laying down the groundwork on the next album, for all of us. She had such a clear vision that it was best to let her see it through, y’know what I’m saying.
Noodle: Once my memory had been regained, it caused an explosion in my senses! Now understanding so much about the world and western culture, I was filled with an urgency to complete these songs. To make a statement, and see the tracks to their proper conclusion. And as I express myself best through music within the structure of this band Gorillaz, it seemed natural to make a new album.
Murdoc: Well, I’m writing the next album. I would have done this one if I hadn’t been in jail. But I basically told Noodle what I think it should sound like anyway.
Noodle, you suffer from amnesia – how do you remember the new songs and old music you have to play? Do the others ever get impatient with you?
Noodle: Er… My memory is now fully regained, during the period after the film I returned to Japan to search for my past, the one I could never remember. This was when I discovered the reasoning behind my memory loss and more of the truth that had been hidden. It was revealed to me that I was one of 23 children trained as part of an elite crack team for the Japanese government at a secret military compound! Also every child was given a special individual skill of their own. I was taught as a musician, my specialized instrument was guitar, but I became completely fluent in all instruments. The real purpose of our training was as a junior fighting militia. However I have never had any difficulty in remembering songs, old or new.
You all went your separate ways recording this album – did you ever get close to splitting up?
Murdoc: Hey, the only way to leave Gorillaz is in a coffin. No-one walks out on this one.
Noodle: Completing this album was the very best way to keep the band together. I think with the first album we did a lot of groundwork in establishing the seeds of ideas, ambitions. But without this follow up the young sprouts of inspiration will wither and die.
How does Demon Days compare to Gorillaz? How and why is it much darker and why the title Demon Days?
Noodle: The album was initiated and recorded under a dark backdrop. I would suggest that this essence must be reflected in the music. We are mirroring the transition that we see in the world. Also, every member of Gorillaz has changed greatly since the first album as we have all experienced so much. This has been reflected in the sound of the second album. We also worked with many different collaborators for Demon Days. This may also explain some of the diversity, and maybe some of the grime you see floating in the colour palette. The title has many meanings. Its interpretation is completed by the instinct of the listener. The moment we live in has agitated this slumbering giant, the dormant illness. These are the Demon Days we exist in.
What did Dangermouse bring to the recording of the album (and where was Penfold?)
Noodle: I was impressed with the work he had done on his own 'Grey Album' which I had downloaded from the Internet, during one of my late night cultural recognisance missions. On ‘The Gray Album’ Mr Mouse had spliced together the work of the Beatles ‘White Album’ and Jay Z’s ‘Black Album’, to create something brand new. It was his commando attitude, and artistic bravery that I thought would fill that gap in our army for the next mission. I called EMI and left specific instructions: 'I want Dangermouse to produce next Gorillaz album.’
Russel: We would never be so flippant with our music as to choose a producer for any other reason than a mutual love and respect for music, and an incredible ability to execute the vision they had for the album.
Murdoc: Yeah. The name Dangermouse was just a bonus.
Who is the disciplinarian of the band when it comes to recording?
Noodle: A disciplinarian is an unnecessary position for anyone in Gorillaz. We all know how to turn up on time, and play to the correct standard, as this is the thing that we love to do. We need no coach.
Was there still a battle for control between 2D and Murdoc. Has there been any change in your love/hate relationship?
Murdoc: There’s no battle for control in this band. I’m the leader and what I say goes. Although with 2D, he stands up for himself much more these days. Which is better for me ‘cos it means I can knock him down harder. No, seriously, apparently, after the band went their own separate ways when the film deal collapsed, he had to grow up a bit, learn to stand on his own two feet. Instead of just standing on mine. So he went back home to his Dad’s place off the coast of England and got himself a job. Became a big boy. He’s still a twerp though.
Russel: I guess every band needs someone with Murdoc's kind of attitude. It looks great on paper but it's not too easy do deal with on a day in day out kind of basis. Also it's a little like complaining about gravity. It can't be changed and it'll just bring you down.
Noodle: I think Murdoc is a clown, with his attitude. Very comical! He doesn't see how many elements have to work together in order to make it work. Unfortunately I think his shallow attitude is one of those elements. He only sees himself. But that is why I like him so much as he is a unique and individual character. It is best not to take him too seriously.
2D: Especially as I think it's more to do with my good singing voice that really makes this band so special.
Murdoc: You wish.
You have teamed up with Shaun Ryder on Dare. How did you meet him and what was working with him like (and where was Bez?)
Murdoc: Shaun’s an old friend of mine. Noodle has this track that needed a different voice to deliver it rather than 2D’s so I suggested bring Shaun in. Working with him is always great. Sure he has his own...er…unique way of working but he always delivers the goods, so that’s just cool with me.
Sean Ryder - the weight, the Peter Kay video - are you sure he was the right choice?
Murdoc: Check the track out and make your own mind up. Although if you disagree, you’re probably mental. And if weight was an issue we wouldn’t have a drummer. I mean have you seen the shape of Russel.
Russel: We contacted Shaun Ryder to work on the album because we knew he’d fit with the track. As a lyricist Shaun Ryder was one of the only true voices and documenters of that late 80s/early 90s period. You can tell he's an original because he spawned so many imitators. Not just musically but in his lifestyle and the way he spoke, right down to his sense of humour and taste in clothes.
Murdoc, so you're a Satan worshiper and have also worked with D12 – How did Sean Ryder, rate?
Murdoc: Hey I worship noone! I’m more of… an appreciator. But your questions leap about a bit. Are you suggesting that Shaun's a cross between D12 and Satan. That’s a...er...odd image.
You have Dennis Hopper reading on Fire Coming Out Of A Monkey’s Head. How did you meet him and what’s that song all about?
Russel: Noodle ran into him at some award show and it turns out he knew some Gorillaz tracks already. We told him what we were working on and then took it from there. He's always been a symbol for a certain type of expression and free speech that suited the track we were working on. So he seemed a relevant choice for Gorillaz.
Murdoc: And, right, also he's got some killer bikes.
Russel: Seriously though, the track we asked him to narrate needed a certain type of voice and delivery to make it work. It worked out really well.
Noodle: The track is about opening your eyes, and not letting your innocence leave you unguarded. In the track certain people infiltrate a nation who have no concept of war or aggression, so when they get attacked they have no idea how to deal with it. However, it causes a collapse for both them and their aggressors. An empty victory.
Is it true Larry Hagman was second choice to him. Any regrets on not having JR Ewing instead?
Russel: There’s no regrets, but it’s true - Larry was our backup plan.
Noodle: The song, albeit under a disguise, is a parable about the true intentions of a certain nation to submit their will onto others under the disguise of some other reason. We thought for this reason that Larry Hagman may be in the correct position to narrate this, as he had also expressed his position as an Anti-war campaigner.
Murdoc: Look mate, without drawing to much attention to this issue, if the guy who played the oil baron ‘J.R. Ewing’ in ‘Dallas’ says the situation in Iraq was about oil, I’m gonna take his word for it. He knows a lot more about the stuff than me or you.
You also work with Ike Turner – What was it like working with him?
Murdoc: We sent him a tape and he played on it and sent it back. Russel had formed a pretty close bond with him, when he lived in Ike’s basement for a year. That was after you went all nuts wasn’t it Russ?
Russel: The piano solo on the outro of the track ‘Every Planet We Reach Is Dead’ is supplied by Ike. It's real easy to forget the influence that Ike Turner had on music. I mean, James Brown learnt of lot of his showmanship and work ethic from Ike & his Kings of Rhythm band very early on. Ike's 'Rocket 88' in 1951 is widely regarded as being possibly the first true rock n' roll record.
Murdoc: He really lets loose on the piano at the end of our track.
2D: Yeah. He’s really knocking … seven shades of shinola out of that keyboard, isn’t he?
How did Ike get to look after Russel and why did Russel lose his senses?
Russel: Ike Turner was real good to me. When the spirit of Del left me, I had my..er..breakdown in LA and it was Ike who picked me up again. He literally found me passed out on the sidewalk, helped me up and allowed me to live in his basement. It was him who guided me back to my first love, music. He supplied me with the instruments and tools to start what I thought would be the greatest Hip-Hop album ever made…like a breakbeat Sgt. Peppers.
Noodle: The solo album that Russel was working on is a very sensitive subject.
Russel: The album took on a life of it’s own. I was convinced that it was responsible for all of the troubles in the world. What started out as being a musical declaration of peace, love and harmony, grew and grew into an...evil, dark and malevolent creation….
When you made Clint Eastwood you said you were sick of answering questions about Clint Eastwood - why have you made a song called Dirty Harry then?
Noodle: The two songs are not related in any other way, other than a slight humorous connection in the title.
Murdoc: Clint Eastwood’s going to think you’re stalking him
2D: Especially when ‘Magnum Force’ comes out.
2D you have become good friends with Shane Lynch – what do you have in common? Did he try and rope you into being Ronan’s replacement on the Boyzone tour?
2D: Well I stayed in LA for a month or two after the film thing, but I was knackered. I thought 'Sod this I’m going home, back to my Dad’s place in Eastbourne.' Coming home was, like, a revelation. The good old days all over again, like being a teenager, but like with all the brains and front of being a grown up. I hooked up with Shane Lynch from ex-Boyzone, and me and him just sort of took Eastbourne over. We were both working at my old man’s fairground, and y’know, a couple of free rides on the Waltzer and girls would be all over you. So I had a brilliant time. But y’know Gorillaz ain’t something you can just walk away from, so I came back to do my vocals on the album. I wouldn’t leave Noodle and Russel to deal with Murdoc on their own.
2D - There's a pile of vinyl in your bedroom - what are you listening to?
2D: I listen to all sorts; Clash, Buzzcocks, Wire, Das Kuntzen Bottz, Kraftwerk. I like a lot of New Wave stuff and bits of Krautrock. Loads of stuff.
There's also a Fred Dibnah poster - what is it about his work that you enjoy?
2D: Er...yeah...Some joker put that up with bluetack when I wasn’t looking.
Surprised to see a Zutons poster in Murdoc's room – are you all big fans?
Noodle: The Zutons are a great band. They’ve got a really genuine feel to their music. And live they’re great too.
Murdoc: Hmm…The saxophone player is very...talented too. If I was pushed, I would have to say she’s probably my favourite Zuton.
Do you consider yourselves the new Monkees?
Murdoc: I wouldn’t even suggest that they're a demo version of us.
The new video is technically brilliant - any plans for a Gorillaz film? What would the plot involve and who would co-star?
Murdoc: Blimey, the whole reason why we’re even back in England having made a new album is because we got dragged through a year-long car-crash that was the attempt of making a Gorillaz film. Have you seen ‘Lost In La Mancha’, Terry Gilliam’s film about how the collapse of making a film? Well, for us it was like that times 20, on ice.
Have you fallen out with Dan the Automator? Where is he?
Russel: I think something about the Kong Studios building kinda crept into his soul and freaked him out a little. Hence why he passed the producer’s crown over to Dangermouse for this record.
Murdoc: He’s probably hiding in one of the corridors somewhere, ready to jump out on us at any moment.
2D: Yeah, I did hear him say something about ‘wanting to kick your ass’.
We heard that Murdoc has started selling 2D’s possessions on eBay – How much has he made and has 2D got anything back?
Murdoc: Someone bought a nice pair of 2D’s golf shoes the other day. As a sideline to the day job in Gorillaz, it’s doing really well. Keep your eyes peeled for more hot bargains coming soon! Actually there’s something pretty special coming any day now.
2D: You still haven’t explained how I got that big scar on my stomach. You better not be serious about selling my liver on eBay.
Your pal Damon Albarn has said the new album is 'the world in a state of night time' - a.) do you think he's right? b.) what the hell does he mean?
Noodle: In a sense he is right. With the Demon Days being upon us, some of us are losing more of the morning by living more in the night. The balance needs to be re-addressed.
How do you feel about Damon taking all your glory with Dangermouse at South By South West. What was his part in the record?
Russel: Both Damon & Dangermouse gave us a lot of support in making this album. There’s no way, despite the devastating skills that Gorillaz have as a band, that this album would have coming out sounding as it does without the work that they did. I feel it’s right for them to talk about their input in its creation. Also, Gorillaz have always tried to do as little live TV promotion as possible, in order to keep the mystique, so in a way they’re kinda helping us out.
Murdoc: Well, the thing about Gorillaz is that so many people involved in it just feel a need to overplay their part. If Damon Albarn and Dangermouse want to swan around Texas telling people that they made the album, fine. It just highlights their desperate lust for glory really.
There’s only four people who are responsible for making that record. Me, Noodle, Russel and er…2D. And to be honest, mate, I’ve even got my suspicions about some of them.
Russel: We asked them both to be the ambassadors for the ‘Demon Days’ album. Having had more of a first-hand insight into its creation they are in a perfect position to represent it to the outside world. Both Damon and Dangermouse are real music lovers so I’m sure they can talk about the album with integrity.
Murdoc: Well, Damon gave 2D all that vocal coaching and now he sounds like he’s doing an impression of Damon’s voice half the time. If we don’t push the guy out the studio, we're gonna end up sounding like … I dunno … one of Damon’s side projects. You know what I mean?