The first half plays almost continuously, transitionally cruising through its inclinations. When an album can successfully pull this off, I’m impressed. Although some songs take a violent twist, the undertone of “Plastic Beach,” the classic Gorillaz sound still is felt.

“Plastic Beach” has done everything to succeed as a Gorillaz hip-hop album, while using tones to give a feel that can be enjoyed at the ocean, at a party or walking down the street. “Plastic Beach” was created, produced, rapped, sung and played entirely by Albarn.

The first half of the album embodies a more tropical feel, carrying most heavily the reggae side to the album. The mix of fun and exciting moods lavishly outdoes any previous attempts to bring a cheery, dance side to rap — such as Kid Cudi, Chamillionaire or Shwayze. Albarn truly has done some recycling since his last album, forming a brand-new toy: a plastic beach.

The album also has met the bar set by recent electronica dance music, popularized by bands like MGMT. It’s time for MGMT’s “Oracular Spectacular” to move aside and let “Plastic Beach” take the reins for a bit. Gorillaz has set a new tone for the future of music and the possibilities of combining great instrumental lengths into a flowing entrancement of art.

The songs contain such a busy array of vibes throughout the album that make for a complex musical presentation. The album builds until “Empire Ants,” the seventh track on the album, then takes a subtler, rhythmic feel — like the Gorillaz we know and love.

With some special appearances from Snoop Dogg, Mos Def and even Lou Reed, the album definitely has developed a very unique sound.

The second half of the album is hip-hop driven, without as many twists or emotional ups and downs. Not only do you get 16 songs of Gorillaz’s pure, romantic power, you get it split into two different feels that have an underlying tone of assured Gorillaz magic.