But for the sake of illustrating that it was part of the process, I’ve been happy to give you that. At the end of the day, it was a silly idea and we never used it. But then we looked online and ended up with an aphrodisiac spray made in somewhere like Bedfordshire called “Pagan Dew” (with a “d” obviously). Being that he’s Jewish and I’m nominally a pagan. Well there was one – which for a week or so we considered to be our name. You and Richard also considered some terrible band names.
Would there have been odder stuff than a song about an elephant ? Yes there would have been. Generally I selected stuff that either had a mood about it that I liked or had a central lyrical fragment that I was interested in. There would have been stuff that never really made it anywhere! There would have been a lot of kind-of failures on there. There would be stuff that had probably never manifested itself in a lot of different places – from stuff that didn’t make into Dr Dee, stuff that didn’t make it onto Gorillaz. It’s not compartmentalised – it’s a seething mass. There would have been a lot of variety to start off with. What was the oddest track that didn’t make it onto the record?ĭamon Albarn: Good question. GQ : You initially presented 60 songs to Richard Russell as ideas for the album. To mark the release Albarn discusses visiting strange lands and experimenting with even stranger sounds…. Produced with the help of fellow polymath Richard Russell, it’s startling and sorrowful in equal measure. This week Damon Albarn unveils Everyday Robots, his extraordinary debut solo LP that, musically-speaking, follows in the footsteps of his work with Gorillaz, The Good, the Bad & the Queen and Rocket Juice & the Moon, as well as his eccentric English opera Dr Dee.
Twenty years on from the laddish listlessness of Park Life, the voice behind Blur is talking to GQ about a very different sort of album. Everyday Robots | GQ Magazine – April 2014 Damon Albarn on visiting North Korea, regretful lyrics and Everyday Robots
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