Crowd-sourced reviews: Gorillaz – “Hallelujah Money (feat. Benjamin Clementine)”

By Ryan G

Take a look at what some followers of Tuned Up had to say about hearing the new Anti-Trump single dropped from Gorillaz on the day before the inauguration. What do you think? Read what they have to say and check out what they’re involved with. Note: Some of these reviews came in before it was released that this is a stand-alone track and not part of the upcoming full-length from the virtual band.

“First off, I didn’t see this coming. I thought they were done. I am surprised and thrilled to see this video and hear Gorillaz again. This track and corresponding video push the music into some fresh, more experimental territory. One might wonder if the recent revival of Blur has allowed Albarn to split his work into a more pop/user-friendly style with Blur and further open up opportunities to experiment with Gorillaz.

The song for me was just as much about the visuals as it was the music. The video pairs well with the sound and the lyrical content. Hallelujah Money and its video are a narrative on the influence of big money and greed on our culture and politics. It’s written and sung like a satirical song of worship to the god of money. The imagery goes further, conjuring illustrations of racism and how power is exploited to extort more control from the less fortunate. The visuals are full of powerful motifs and allusions. Especially noticeable is the all-seeing eye reminding us that much larger powers are at play, ever present, ever pulling the strings. Each new view of the video is sure to reveal more Easter eggs.

The music itself may be subdued, albeit pleasing, allowing the vocals to carry the song, but this approach, reinforced with the imagery in the video, keeps the focus on the message.

This release is nothing if not a heavily allegorical and timely political and social commentary on the current state of affairs.

It resonated with me. I loved it.” – Nate Elliot of Animal Running

“After years of waiting, one of my favorite bands has come back with a wonky, soulful track on my birthday. This old goon is very pleased.” – Mike Houck of Bear Your Cross

“Despite powerful vocals, and consistently interesting production, I still felt underwhelmed. Maybe because it’s a pop band’s effort at what seems to be stream-of-consciousness. Not bad, just forgettable, and an odd choice to introduce fans to a new record. Still excited to hear more though!” – Jon Hayes of Lackluster

“I love Benjamin Clementine, and upon first listen I have a feeling this song will grow on me. There’s a lot going on the screen behind him. I have a feeling that the next single they release will be more radio friendly, but I do enjoy the unfamiliar.” – Jack Doran of Zoo Trippin’, Keating, and Hello Emerson

“If you look at the progression that Gorillaz have been making leading up to this record, I think the song will make a lot of sense and have more even more weight to it when it is heard in the context of the whole album. They have steadily been more and more willing to explore less common pop music idioms and using the album format to it’s fullest to tell their story. Fire Coming Out Of The Monkey’s Head and Don’t Get Lost In Heaven are pretty solid early examples of this, leading into Plastic Beach’s numerous segments that really get away from any sort of mainstream pop with Some Kind Of Nature and Cloud Of Unknowing. The band has a way of being musical and conversational, but here, with Hallelujah Money, they manage to reach for sermon.

Gorillaz don’t need to chart huge to sell a lot of albums. They released this song to make a statement and I think it points to just how political this newest record is going to be.” – Austin Nill of Castile

“Damn.” – April Kulscar, artist manager of Playing to Vapors, Doc Robinson, Forest and the Evergreens, and The High Definitions.

“Vocals are killer in both aspects, production is top notch, overall though just seemed an ‘in-between’ song for an album. Nothing too memorable from it but that certainly doesn’t make me lose faith in the album.” – Alex Sheridan of Young Machetes

“As someone who hasn’t been a huge Gorillaz fan outside of their hits, I have one major conclusion here.

The video fits the song and lyrics perfectly: meandering and eccentric; however, there is a little too much meandering and eccentricity to be considered a strong track in my opinion.” – Corey Mouch, Tuned Up contributor and member of Static Wonder

“I’m not on the Gorillaz bandwagon, but it sounds like being high in an elevator – moving slower than you’d like but having a party on the way up.” – Julia Oller, Columbus Dispatch music columnist

“It incorporates 80’s sounding electronic drums and a gospel chorus. It seems like some of those bigger bands are starting to follow the gospel aspect of music such as Kanye west. A very mystical gospel song.” – Alex Criado of And More!

“It felt like the song was going to get good at least a dozen times, but it never really took off. The cadence of the featured artist didn’t match well at all.” – Jimmy Stiving

“I have been a fan of Gorillaz since they released their self titled. Since then I’ve seen the use Dan The Automater and his crew to make a killer cartoon hip-hop record (S/T), a still green Danger Mouse expand that universe into perfection and darkness (Demon Days), and then abandon an outside producer all together and instead expand the Gorillaz’ cast of special guests, textures, and themes. Though Plastic Beach both boggles and underwhelms, it’s still a breakthrough in growth and a starting place for a new chapter in their evolution. Without context of who is singing, who is producing, or any other elements of this track I can say that that from the first hit and vocal line this is a refreshing and surprising step for them… again! This song to me doesn’t sound like a single: it’s not “DARE.” It’s not “Clint.” It’s not even one of the bizarre dream-pop or cartoon-rap singles from PB. It’s something new. It’s striking. This feels right.

I feel like Gorillaz are always moving forward, never misstepping but equally never afraid of doing so.

They (meaning Damon Albarn and his cast of creative geniuses) don’t care if the cadence is odd, or if it sounds more like a deep cut, or if it’s not even a hip hop album at all. It’s fresh and it thrives.

I’d liken this to more of the Demon Days ballads in its richness and depth.

Needless to say I’m excited for this album or whatever it may be. I might be even more excited to play this song over and over again until it comes out.” – Jonathan Hape, solo artist and member of Room and Board

 

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