Intro: “Who put the chemicals in the food chain?” is a really great opening line to an album that’s going to approach topics pertaining to the *demons* of modern society. Moreover, it has a very eclectic instrumental, and it is definitely an amicable albeit slightly uninteresting introduction to the rest of the record.

Low 7.

Last Living Souls seems to cryptically sit on the fence between complete nihilism and cynical optimism. It’s both a condemnation of there being no future and an invitation to live in the moment since we’re the *last living souls*. The lyrics are very evocative; they’re also nicely complemented by the very diverse pop and reggae-influenced instrumental. Also, The production is great and it brings some elements that really add to the song.

Mid 8.

Kids with Guns paints a depressing picture of children being coerced into violence. It’s never conclusive about what causes this, but it could be a critique of war (and recruitment) and/or of violence-inducing media. Instrumentally, the bass line and production are great elements within this track; also, the chorus is great and has favourable chemistry with the rest of the song. However, from a compositional standpoint, the track feels a bit one-dimensional — excluding the elements previously mentioned.

Low 7.

O Green World is a very poetic lyrical point in the second person where 2-D sings to the earth. Additionally, it is hinted that it has been contaminated beyond the point of going back and that the population has taken a massive hit due to this. The line “Hope, sex and drugs thrust into myself”, parallels the damage we cause to the earth and the damage we cause to ourselves. Compositionally, this is another case of a slightly tame cut. However, the off-kilter introduction, the dark and groovy beat, and the backing vocals are really enjoyable.

Mid-High 7.

Dirty Harry: The line “I’m a peace-loving decoy, ready for retaliation” paints a harrowing picture of the themes this song explores, which are complemented by anti-war war stories and metaphors (especially of the Iraq War started in 2003). The song also features an evocative verse by Bootie Brown. This track once again lacks punch in the arrangements and melodies, but it boasts likeable synth tones, production, and lyricism.

Low 7.

Feel Good Inc. has cryptic lyricism, with very ominous and enjoyable overtones of a corporate dystopia. Overall a very nice, seemingly anti-capitalist track. The lines in the chorus are either a silver lining or a moment of melancholy, within an already ruined world. Trugoy the Dove’s rap verse is enjoyable, and it seems to be from the perspective of who’s part of this “Inc”. The bassline is —needless to say— worthy of its classic status, the production continues to be fitting and top-notch; although there still is something that feels slightly humdrum overall.

Low-Mid 7.

El Mañana could be interpreted as a love song and a pretty lyrical glimmer of optimism. It still has cohesion with the rest of this very pessimistic and gloomy record, but there are undertones of hope for a better *mañana*. Damon Albarn’s vocal performance really stands out in this track, and the production is calmer and more melancholic this time around. This more mellow mood, however, comes across as another moment that’s slightly too tame — to my taste.

Low 7.

Every Planet We Reach Is Dead seems to be a breakup song at first; but, with the title and the rest of the record as context, it can be deduced that the girl mentioned in the track is mother nature. It’s a pretty bleak exploration of having to be a “dreamer” to be someone that still has hope for the world (and future worlds?) because of our inability to be selfless. Also, the constant repetition of “what are we going to do?” adds an extra spice of pessimism and unavoidability. Audibly, this track is able to combine very unique synth timbres and keep the melancholic and introspective momentum from the last track. The outro is very symphonic and grandiose as well — although it makes the track ever-so-slightly long-winded.

High 7.

November Has Come has an uncredited feature of MF DOOM! Both of his verses mostly criticise easy consumption or “quick fix” mentalities. These could be read as criticisms of low-effort music-making, and/or behaviours that lead to the saddening state of the world explored in the record. There are also lines of self-praise and criticisms of systematic racism. The chorus sees 2-D singing about impending doom and asking the listener what they would value, in the face of an approaching end. Sonically, however, I can’t bring myself to call myself the biggest fan of either MF DOOM’s or 2-D’s sections; it just feels a bit too laid back and weakly composed except for the performances, production, and lyricism — which have all been saving graces throughout the record.

Low 7.

All Alone has many biblical references. Additionally, this track explores how all humans are fundamentally alone, but it seems to address this with the aim of empowerment. The biblical references could be interpreted as contributions to this empowerment, as if saying that all of these religious values can be found in oneself, even in loneliness. This cut’s chorus is a highlight, and the way it comes back after a beat-changing bridge makes for a very fresh-sounding device. However, it’s slightly lacking in emotion and punch; fundamentally feeling a tad safe. Moreover, the bridge itself doesn’t fit all that well with the rest of the track, in my opinion.

High 7.

White Light could be interpreted as an episode of alcohol abuse — probably an addiction that sparked in 2-D as a desperate attempt to escape the world’s state. The very surrounding and chaotic production is a commendable and focused accompaniment to the lyrics. The simplicity of everything combines in quite a cohesive.

Low-Mid 8.

DARE is named this because Shaun Ryder sang “it’s there” with a thick Mancunian accent. Lyrically, it seems to be a call to action by Noodle to 2-D, urging him to let go of his past and repression in order to move on. Musically, it’s a wonderful dance tune with very creative and well-integrated production elements throughout. Also, the structural decision to place a silver lining in themes (and mood) helped the album by not making it overly downcast; plus the song is great, so of course, that helps as well.

Mid-High 8.

Fire Coming Out of the Monkey’s Head is a beautiful, mostly spoken word passage with a very metaphorical story. The message is quite a nuanced one, with flaws shown on both sides of the story: although it does condemn the greed of Strangefolk that leads to the demise of everyone around the mountain called Monkey, there also seems to be undertones of a critique of the higher class. This could be inferred from the Happyfolk being described as “blind”, and how they are only happy because their whole culture and happiness are based around their jewels and their separation from the rest of society. The production surrounding the spoken word really is enjoyable and soothing as well. The more acoustic sections —which feature an acoustic guitar and 2-D’s vocals — are a nice addition, and they let the verses breathe so as to not become tiring.

Low 8.

Don’t Get Lost in Heaven sees 2-D visiting the aftermath of the last song, and combines that with his memories of a past relationship. He reminisces, seemingly bitter about his past and alluding to cocaine use — basically an exploration of him having learnt nothing from visiting Monkey. I’m not a fan of the lyrics, to be honest, and the playfulness/pep of the track rubs me the wrong way as well. The mix is quite unpleasant as well.

Low 5.

Demon Days is an extremely bleak and pessimistic piece of cynicism. Although it has very powerful lines addressing numbness and nihilism, The London Community Gospel Choir seems to respond to 2-D. Not by denying that the world is in a horrible state, but by affirming that it’s in him to “turn [him]self round”. This track is the most symphonic and reggae-influenced track. The lyrics fit surprisingly well with all the compositional and production decisions — all in all, making for a pretty great closer.

Low 8.