B McGhee

It is a strange, advanced sort of perfectionism, a persistent dissatisfaction with existence that expresses itself more strongly in The King of Limbs than it has in any of their work in years.

Albarn doesn’t give us a “Clint Eastwood” or a “Dare” this time around, but in spite of a messy and patently artificial conceptual framework, Plastic Beach feels clean, shiny, and new.