Damon Albarn has never been one to rest on his laurels. The Brit-pop superstar has spent most of this decade expanding his reputation of writing pleasing pop songs with his former(?) band Blur by participating on several ambitious musical ventures. The most well-known of these, of course, is the cartoon rock/dance group known as Gorillaz. The singles off the group’s two albums, such as “Clint Eastwood” and “Feel Good Inc.” have been staples on the radio the last few years.

Albarn also traveled to Mali to work with several African musicians to create a record, 2002’s appropriately titled Mali Music. Now, however, he wants to return to what made him famous, gorgeously crafted pop melodies, with the self-titled debut of his new band, The Good, The Bad and the Queen.

The three-part name of the band is a reference to a saying of what comprises the population of London, and judging by the lineup of this group, the saying holds true. The GBQ is a smattering of various branches on the British and world music tree—bassist Paul Simonon of the seminal punk group The Clash, former guitarist for The Verve, Simon Tong, Tony Allen, the Nigerian drummer who is a founder of the genre Afrobeat, not to mention Albarn himself as the keyboardist and lead vocalist. Noted producer Danger Mouse (who collaborated with Albarn on Gorillaz’s last effort, Demon Days and also comprises one half of Gnarls Barkley) is here to add his production genius to the cause.

So what does such a mishmash assembly of musical talent sound like when put together as one unit? Surprisingly subdued. One would think that with the more rock-oriented and upbeat stylings of these musicians that they would produce an album of some good old fashioned rock and roll, with maybe a hint of pop and punk. However, this is not the case. Instead, Albarn and company have produced a very soft, moody, and melodic album. The rocking out is few and far between on the album, with really the only moment coming with the extended instrumental outro of the title and final track on the album, which features a lot of grinding guitar from Tong.

The intention behind this album is to expound upon daily life in London. And if that is the purpose of GBQ, then based on the lyrics and music found it would seem London is a dreary and downtrodden place. The music is dark and gloomy with equally moody lyrics to match. This album is perfectly suited for a rainy day, and if you happen to be in London, chances are you’re used to this kind of weather.

Furthermore, Albarn is decidedly pessimistic in his verbal musings. War seems to be a common theme to his lyrics. Several of the tracks make allusions to war, such as on “80s Life” where Albarn sings "I don't want to live a war / That's got no end in our time."

The tempo on the album never really picks up until the tenth track, “Three Changes.” The song opens with an almost carnival-like organ intro by Albarn. Despite providing the most aggressive music than anything heard thus far, Albarn still does not seem happy with where he is: "Today is dull and mild / On a stroppy little island/ Of mixed up people,” which seems to be just about the perfect statement to describe life in London.

While Albarn has spent his last few albums seemingly hiding behind things he is not—literally with the cartoon persona he occupies in Gorillaz, and metaphorically when trying to assume the role of an African musician—Albarn has now returned to his roots with The Good, the Bad and the Queen. The group’s self-titled debut presents a bleak yet gorgeous account of what it is like to be in one of the most powerful cities in the world.

Because Albarn has musically strayed so far from what made him famous but has ostensibly come back to roost with this new band, does that mean that one day a Blur reunion could be in the works? I sure hope so, but for now, The Good, the Bad and the Queen will have to do.