6/4/2023 0 Comments Mr tembo lyricsTembo” could be for anyone despite its background. Albarn has stated in interviews that even his own daughter gets embarrassed now when he writes and sings to her (more of a 14-year-old thing than a songwriting ability thing), so “Mr. Tembo,” a sweet song he once sang to a baby elephant he met in Tanzania but acts as a song he would sing to his daughter. This and the single “Lonely Press Play” are clear indications of his alienation from aspects of society, but they are the most direct of the entire record.Īlbarn’s voice and melodies often leave the listener unaware of the personal struggles of the lyrics which he writes for no particular person to engage. The title track enforces this with the opening line of, “We’re everyday robots on our phones.” In a dreary England trance, Albarn stands at the window from his own cloud looking at a world he still finds troubles dealing with. In Blur, he was frantic and moody about middle class living in a post-Thatcher England, but in 2014 it’s about the weariness of modern technology. It is the collective culmination of all previous works with everything he loves dropped into an overly melancholy outfit.įor 20 years, he has perfected the art of writing with cynicism about the rise and fall of his homeland’s morals and convictions. Everyday Robots is surprisingly the first album where he is front and center, not just in name. The talent doesn’t go unseen over here (to an extent) but the actual person who is Damon Albarn is masked by band names and other musicians dishing out his songs. Only in the UK and in most music critics’ circles has he earned poet laureate status, on the same level as supreme British pop lyricists like Ray Davies and Paul Weller. You may know him as the frontman of Blur - you know, the “woo hoo!” band who had over a dozen Top 20 hits in the UK but only one simplistic and mocking radio hit stateside? Or you may know him as the mastermind behind the criminally underrated cartoon themed band Gorillaz. It’s an honest question if you haven’t followed music in a very diverse way over the past 25 years. By Jason Stives, edited by Erik van Rheenen
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