By Camryn Brathwaite

Whether you identify as a fan or not, I’d like you to ask yourself which genre of music you’d associate Gorillaz with the most. Alternative? Perhaps rock or electronic hip-hop? What if I told you that the greatest genre influence I took away from Cracker Island was pop?

It seems as though 80s-inspired synth pop undertones have become a defining characteristic on radio-played tracks in the early 2020s, and Gorillaz is here to kick around in this trend on Cracker Island. As expected after “New Gold” as a single, almost every track has this synth-pop touch; the only exception is the remix of “Silent Running,” ballad-ified, without any production other than piano accompaniment.

In 2023, Cracker Island is pulling out several stops in terms of features from mainstream artists. Long-time collaborator De La Soul is on the project, and Del The Funky Homosapien has reappeared for the first time since 2001!  “Rock the House” is a personal Gorillaz favorite, so there aren’t words to describe my satisfaction in this feature. “Captain Chicken” is silly, but I can see it becoming a repertoire classic—catchy, with a sprinkle of subtle Gorillaz snarkiness that comes with their known-and-loved satirical commentary.

Aside from the veterans, though, we have an absolutely delightful cast of new characters: Stevie Nicks, Tame Impala, Thundercat, Beck and even Bad Bunny! I was a tad disappointed in cuts like “Cracker Island,” “Possession Island,” and “Oil”—namely because I was expecting more than backing vocals from Thundercat, Beck, and Nicks respectively. Each track still has merit, though, and “Cracker Island” is a standout of the album. Another standout feature is from Portuguese MC Bin Laden, with flows reminiscent of the ones in Gorillaz (self-tilted) and Demon Days. 

Greg Kurstin and Damon Albarn have created the Gorillaz pop album—or, at least, something in proximity to it. In my opinion, Cracker Island is the most danceable, most likely to go viral on Tiktok and hear it in Target, Gorillaz album to date. Sometimes it even skirts the edge of corporate, a la “Tormenta,” “Oil,” “Baby Queen,” or “Silent Running.” I’m not saying that to diminish its value, but it’s true. I could definitely get into it, and I find it to be a really good starting point for a new audience (probably a goal, imposed by Parlophone). However, if you’re already a fan, and you don’t love this album, I see where you’re coming from. 

3.5/5