Damon Albarn making new album for Warp - July 2011

Damon Albarn's opera Doctor Dee has now reached the end of its run as part of the Manchester International Festival and has received almost universal acclaim and positive reviews. 


"I'm making an album for Warp," Damon reveals in The Guardian's latest article on Doctor Dee, his new opera . This is the only new thing that the article reveals, oh, and that Damon stumbled quite a lot around the stage during his opera....


Warp is a Sheffield-based record label usually renowned for techno. 


"I'm taking six young English producers with me and we'll make it in a week. Then I'm going on a six-
week holiday to dispel rumours I'm a workaholic." said Damon.


And my thoughts on this is exactly northernmonkey's, which goes like this:


A six weeks holiday should recharge the creative juices for getting started on a new Blur album!!!


Lastly, watch the recent short interview Damon Albarn did for BBC Two Culture Show on July 12th 2011 about his opera. Quite interesting. 





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Doctor Dee - Manchester International Festival 2011 - Review

It's time for a review! Since I have no chance of seeing Doctor Dee live, I will present to you the first proper review, by The Guardian, on Doctor Dee -  Damon Albarn's opera, which premiered last Friday night at the Manchester International Festival 2011.

 4/5 stars

It is perhaps as much a disservice to call the 16th century alchemist and astrologer John Dee a Renaissance man as it is to refer to Damon Albarn as the former frontman of Blur. Neither scratches the surface of their achievements.

Dee was an occultist, hermetic and spiritual advisor to Elizabeth I who appointed the Queen's coronation day through the alignment of the planets.

A world famous scholar who dabbled in the undefined area between science and sorcery, he was reputed to be the model for Marlowe's Dr Faustus and Shakespeare's Prospero. And by applying Euclidean principles to navigation, he laid the visionary blueprint for the British empire.

Now latter-day polymath Albarn has created an opera based on the life of this mysterious philosopher. The pairing seems irresistible: an inscrutable but undeniably beautiful meditation on Englishness inspired by the man who coined the term "Britannia" and written by a musician who made it cool.

Dr Dee is an erudite affair, inspired by the philosopher's exile to Manchester in the 1580s, where he founded the English speaking world's first public library. It's extraordinary to think that whereas Albarn has been bringing himself up to speed with concepts of hermeticism, Euclidian geometry and Rosicrucianism, his erstwhile Britpop rival Liam Gallagher has formed Beady Eye.

Damon Albarn performs on the preview night of the opera 'Dr Dee' at Manchester Palace Theatre. Photograph: Shirlaine Forrest/WireImage

Even so, Dr Dee is by no means an opera in the conventional sense. Instead director Rufus Norris lays on a sumptuous array of scenes and tableaux that draw upon the lavish stage mechanics of an Elizabethan masque. If there's a parallel to be drawn it might be with Berlioz's similarly grandiose "dramatic legend" the Damnation of Faust.

You suspect that the main reason Albarn creates a sound-world combining kora, theorbo, and Afrobeat drummer Tony Allen is because he can. More contentious is his decision to cast himself as a kind of troubadour-narrator, as it slightly negates the dramatic function of Bertie Carvel's Dr Dee, whose role becomes largely mute.

Yet there is genuine dramatic frisson delivered by the ice-cold counter-tenor of Christopher Robson as Edward Kelley, the psychic or "scryer" who became Dee's ultimate undoing.

Dee commissioned Kelley to commune with the angels; the angels apparently suggested that Kelley be allowed to sleep with the Doctor's wife.

Albarn's opera can seem obscure and sometimes wilfully perverse. But it reaches to the heart of the tragedy of an overreaching intellect destroyed by a deal with a second-rate Mephistopheles. Dee was haunted by his shortcomings: "You know I cannot see, nor scry" he lamented.

Yet for Albarn, who ends the evening triumphantly aloft against a panorama of the cosmos, the scry's the limit.

Pretty good review, in fact it's EXCELLENT. Damon's reached a whole new level with his opera performing, and I can't wait for footage of it to surface, or perhaps there'll be a soundtrack album like Monkey Journey to the West. 

You must watch Damon Albarn talk about Doctor Dee in the video below. He discusses his opera (mistakenly named "Dr. John Dee" in The Guardian's website ! ) ahead of it's premier on Friday Night in Machester International Festival. 

Enjoy! And I would like to announce BlurBalls reached a GOOGLE PAGERANK of 3/10. What an achievement! I'm chuffed! All thanks to you guys who link back, tweet and support.

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Dave Rowntree - "There are always plans for Blur" - July 2011

Beyond Britpop: Whatever happened to the class of '95?

Pulp are just the latest Britpop band to re-form. What happened to the other musicians who defined the Nineties? Alice Jones from The Independent meets the retired rock stars

DAVE ROWNTREE

Then: Drummer, Blur. Blur have released seven studio albums, including the Britpop-defining No 1 albums Parklife and The Great Escape which sold 2.15 million copies worldwide. Having effectively split up in 2003, they reunited in 2009 for a run of successful gigs, headlining Glastonbury and playing to 100,000 emotional fans over two nights in Hyde Park.

Defining Britpop Moment: Winning the 'Battle of Britpop', beating Oasis to No 1 in August 1995 with "Country House".

Now: Trainee Solicitor. Having worked as an animator for several years, setting up his own company, Nanomation, and producing two series of Empire Square, Rowntree enrolled at law school and is halfway through his training contract at Kingsley Napley, a London firm.

Lives: East London with his girlfriend, a music publisher. He is 47 years old.

'Around five years ago, I was having a mid-life crisis. I lay awake at night thinking, 'Haven't I wasted my life? Hasn't it all been rather trivial? Hitting things for a living, isn't that rather stupid?'.

Then I talked to a friend who was a lawyer. He said his grandfather had sent him to the Old Bailey, saying 'Go and sit there for two weeks and, at the end of it, you'll know if you like law or not'. So I did that and it was brilliant. Everything that my mid-life crisis was telling me I needed, I found in that courtroom.

The space between things with Blur was growing quite wide so I went to one of the leading legal aid criminal firms in east London and did a bit of work experience. I fell in love with it. It was everything I was looking for – genuine hands-on helping of people with serious crises. I went to law school, passed all my exams and in a year I'll be a qualified solicitor. Now I work five days a week. Crime is what I love but I'm unusual in that I quite like tax law, too.

Around the same time I started to get more involved in the Labour party. I'm a local activist and helped David Miliband on his leadership campaign, which was very exciting. I also stood for parliament in Westminster at the last election, though I had no hope at all of winning. It's all part of trying to bring some kind of meaning to my life, arranging it so I'm a giver rather than a taker. What stuck in my craw was the feeling that my life was selfish. I was turning into somebody that I despised.

The band wound down without my permission, because of Graham and Damon falling out. It wasn't being in the band that I hated. I still love doing that and I'm pretty sure that if I could still do it full time, that's what I would be doing. It's all speculative, because to be able to do it full time you have to be a bit younger.

At the time, it was very hard to gauge the scale of what was going on. First we were a tiny indie band and suddenly we were the mainstream, at number one. We became pop stars which wasn't in the plan. Some of us accommodated that better than others. At the height of our success, I used to fly the band around on tour in my plane. It was brilliant – proper rock-star behaviour. These days I share a plane with a few friends. It's an incredible luxury, really, my one nod to stardom.

Otherwise, I felt about a mile from being involved in any kind of movement, even Britpop. The idea that we were involved in a movement, especially one with such a terrible name, definitely wouldn't have appealed to us.

The Hyde Park reunion [in 2009] could have been a disaster. When Graham and Damon put their differences to one side we decided to go into the rehearsal studio and see if the old magic was there. It was clear immediately that it was. But we all had misgivings. I was very surprised at how quickly the first show sold out. It was really nice that people still felt that way about us.

We keep in touch with each other and there are always plans for Blur. But it's quite fragile. We're grown men now and we don't want to ruin anything. If we do anything else, it's got to be interesting. There has to be a good reason."

******

Interesting read, and in particular the part that caught my attention was the bolded red paragraph. At least that's nice to hear, good news for us fans! But we still don't know anything about their plans. 

Here's Justine Frischmann's part in the article. For those who don't know, Justine was the ex-girlfriend of Damon Albarn and frontwoman of Britpop band Elastica. Read below to know what's going on with her.

******

JUSTINE FRISCHMANN

Then: Lead singer and guitarist, Elastica. Britpop's cool head girl who dated Brett Anderson and Damon Albarn. Elastica's eponymous first album entered the charts at No 1 in 1995, then the fastest-selling British debut in history. They split up in 2001.

Defining Britpop moment: Starring on an NME cover alongside Thom Yorke and Brett Anderson in 1994, before Elastica had released an album.

Now: Artist. A graduate of the Bartlett School of Architecture, Frischmann co-presented a BBC series called Dreamspaces. She also collaborated with her old flatmate MIA, co-writing songs on her first album Arular. Last year, Frischmann had her first solo exhibition at the Michelle O'Connor Gallery in San Francisco and this year showed her work at New York's Sloan Fine Art.

Lives: North Bay, San Francisco with her husband, a climate scientist and professor at the University of California-Davis. She is 41 years old.

'Music never felt like a sustainable career to me in the emotional and physical sense. I was never that comfortable in the spotlight. I'm actually a pretty quiet kind of person who needs a lot of peace, calm and stability around me.

When I think of Britpop, I remember how exciting it was to see friends breaking through in such a short time. At first the media's attempts to pigeonhole us all together seemed forced. But the concept of 'Britpop' soon gained momentum and it became clear that it had become an entity in its own right. That redefinition of English music and identity felt important at a time when so much of the popular culture seemed to be coming from America. There was a desire to make work that celebrated where we were living, using our own imagery, vernacular and humour. There was also a softening of boundaries during that era – in a way, Damon working with Phil Daniels had some parallels with Tony Blair representing the Labour party... a reappropriation of traditionally working-class iconography by middle-class intelligentsia.

I left the UK in 2005 to study Fine Art at Naropa University in Boulder, Colorado. I was ready for a total change, I wanted to leave the UK and go back to school. When we were touring I loved the land in the American West and felt drawn to come back. Naropa is the only Buddhist university in the US. I thought it would be interesting to look at the creative process from a contemplative point of view.

I have a parent who is a Holocaust survivor and the Holocaust is something that, I think, has driven me all of my life. My love of Modern design and aesthetics also comes from my parents, who were influenced by the Modern movement, partly, I believe, because we had lost our family history on both sides.

The only Elastica member with whom I'm in touch is Donna. Last time we spoke she was working as a music therapist. Brett [Anderson] is still a good friend. In terms of the music scene today, I still think that Maya's work [MIA] is interesting. But I'm the wrong person to ask. I live in rural northern California where there are coyotes wandering in the streets. And I don't own a TV."

Graham Coxon discusses latest album in Glastonbury 2011

Following his set at today's (June 25) Glastonbury festival, Graham Coxon chatted to NME about how he will be releasing a new solo album after this summer.

The Blur man spoke about the follow-up to his 2009 effort 'The Spinning Top', saying he had plenty of material for the album.

"I've recorded enough for two [albums]," he explained. "I'm not in any rush, I want to start working on that after the summer – I want to concentrate on festivals and start thinking about putting an album out then."



Coxon also spoke about headlining Glastonbury with Blur in 2009 and compared it to this year's solo slot. "It's the same sort of feeling, but the Blur thing was a little bit overwhelming," he said. "Obviously this [the show on The Park stage] was a lot more nervous energy. The Blur thing was a bit more of a laid back thing."

When asked how it felt to headline Glastonbury, Coxon said: "It's immense, really. It gives you an amazing feeling, especially if it goes as well as it did a couple of years ago… Loads of people, suave guitar, loads of amps – it's pretty good."

He added that his favourite Glastonbury memory was playing 'Beetlebum' with the band that year, during the sunset. When asked if Blur had got together recently for any writing sessions, he was quick to dispel any rumours, with a sharp "No."

Coxon said he was up for watching The Horrors and Tame Impala but added that he might not venture out of The Park area as "I don't like traipsing around much!" When asked if he'd watch fellow Britpop icons Pulp play on the same stage he had later in the evening he said: "Yeah, that'll be nostalgic."

Coxon played on The Park stage this afternoon (June 25) with his five-piece band and drew a large crowd, many of whom had to stand ankle-deep in thick mud to watch.

Graham Coxon played this setlist:

'No Good Time'
'Advice'
'Don't Let Your Man Know'
'Standing On My Own Again'
'I Can't Look At Your Skin'
'Dead Bees'
'City Hall'
'Running For Your Life'
'You And I'
'Sorrow's Army'
'Ooh Yeh Yeh'
'Freakin' Out'


Source : NME 


It looks like Graham Coxon has been busy as a bee with his new solo works, but we can't help wondering what's up with Blur ? Damon's been fishy and all bottled up, Graham Coxon's now making his new albums and the other two guys have just been strutting their own thing. We want news! 

Meanwhile, Graham Coxon played live at the Glastonbury 2011 Park Stage - hear him play Standing On My Own Again and Freakin' Out by clicking HERE for the BBC Music Player (UK only). 


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Gorillaz to collaborate with The Beatles in a new single

Paul McCartney has hinted that he could be on the verge of collaborating with Gorillaz and may appear in the next Gorillaz single. 

The surprise move would see the former Beatle join the ranks of the likes of Snoop Dogg, Bobby Womack and Lou Reed, who have all appeared alongside Damon Albarn's animated band.

McCartney was speaking to TheQuietus.com as he releases reissues of his two solo albums 'McCartney' and 'McCartney II'. Paul is on the promotional trail for the re-release of his solo albums McCartney I and II - and revealed his admiration for the talents of Damon and his Gorillaz co-star, artist Jamie Hewlett


He said: "We have kind of talked - nothing serious but I like what they do. It's got near a couple of times but we never had the time."

Sources in both camps believe it is only a matter of time before they get together in the studio.

Macca was a huge admirer of the work Damon did on his opera Monkey: Journey To The West.

The former BEATLE is putting the finishing touches to his own score for the New York City Ballet - so they have a lot in common creatively.

Damon presented Macca with a Q Magazine Icon award a few years ago, at the same bash where he himself won an Inspiration gong - and the collaboration conversation has been rumbling on since.

A source said: "Damon originally brought up the idea of doing something with Gorillaz at the Q Awards and they have been trying to sort something since. It never worked out on the last album, Plastic Beach, but things are looking good for something together in the future."

Expanding upon the rumours, a ‘source’ told The Sun: "Damon originally brought up the idea of doing something with Gorillaz at the Q Awards [in 2007] and they have been trying to sort something since. It never worked out on the last album, 'Plastic Beach', but things are looking good for something in the future."

McCartney is currently putting the finishing touches to a score for the New York City Ballet. Similar to Damon and his opera , huh ?


If this is true, then it's about time Gorillaz get to the top of the charts again. Meanwhile, remember to subscribe and "LIKE" BlurBalls on Facebook, or email subscribe to receive the latest news on everything Blur, Gorillaz, Damon Albarn and Graham Coxon! 

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Blur possibly to play in the USA - 2011

American fans watch out - for Blur may play in the USA very soon. 

A featured piece about Dr.Dee has just been published on the Guardian website here. 

'I'm not a monarchist. But I'm English. And I have an irrational emotion for my country' ... Damon Albarn at a rehearsal for his opera, Doctor Dee. Photograph: Jonny Donovan

As well as new information, Damon talks about Blur, his Flea + Tony Allen album (a bit of work still to do; it's 'largely instrumental') and plans to make an album in a week in the Congo this summer. 

The part that interests us most is of course, the BLUR part. Blur, Albarn says, may reunite again, to play their old songs in the US, though when asked about the possibility of new Blur songs, the reply was  a mumbled "don't know". There is also final work to be done on a largely instrumental album made by Albarn, Allen and the Red Hot Chili Peppers bassist 

Michael "Flea" Balzary.

The whole article is found below. Do read it all.. it's an interesting read and Damon is giving better and better interviews as he progresses. 

----------------------------------------------------------------

It's Tuesday morning in the mess of glass, metal and international retail brands that is modern Manchester, though Damon Albarn has arranged to meet me somewhere very different. Just across the road from the city's Victoria station is Chetham's Library – the oldest public library in the English-speaking world, and a place once frequented by Karl Marx. Inside its reading rooms, there is a beautiful hush.

Albarn, currently sporting a thick beard, is here in connection with someone currently much on his mind: John Dee, the confidante of Elizabeth I, mathematician, navigational pioneer, alchemist and supposed magician who served as the building's warden for 10 years at the end of the 1500s, when it was an adjunct of the nearby cathedral. By this time, having blazed an intellectual trail across Britain and Europe, Dee was at the end of his life, with plenty of controversy and emotional wreckage behind him. One biography sums up his presence in Manchester as a matter of "virtual exile, placing him far outside the orbit of the Queen and her court". His existence here seems to have been forlorn and unproductive, and made yet more wretched by the death of Elizabeth in 1603. He returned to London two years later, but lived for only another three years – though at 82 he hardly died young.

Now, Dee's ghost has returned to Manchester in rather more favourable circumstances. Albarn and the director Rufus Norris have built an "English Opera" entitled Doctor Dee around his story, which will be premiered as part of the Manchester International festival on 1 July. On the other side of town, a company of actors and dancers is deep in rehearsal, while elsewhere the BBC Philharmonic Orchestra is perfecting the score – any time now, they will be joined by a core of musicians, including Tony Allen, the 70-year-old Nigerian drummer whom Albarn credits with a "cosmic pulse". Albarn himself will take an onstage role – delivering, he says, songs that draw lines between Dee's time and our own, centred on "relationships, religion, hedonism, the reinvention of ritual . . . and politics, a little bit. There's a lot going on."

To make things even more interesting, the production is intended to evolve as it's rehearsed and performed, which partly explains Albarn's visit to Chetham's library: when the chief librarian appears with a handful of books once owned by Dee and strewn with his annotations, Albarn reaches for an A4 notebook, and scribbles down at least one line he seems to think might help him with a lyric. "This isn't like making a record," he says. "It changes. And when we present it on that first night, it'll still be in a state of flux."

❦

Alchemy and court intrigue, the linking of two Elizabethan ages, and music that fuses no end of influences: as the Guardian's music critic Alexis Petridis put it in 2007, "to think Albarn was once compared unfavourably to Liam Gallagher . . . These days, that seems a bit like comparing David Bowie to Les Gray of Mud."

The range of his recent(ish) work is dazzling. In January 2007, Albarn released The Good, The Bad and The Queen, created by a band including Tony Allen and the former Clash bassist Paul Simonon, and sprinkled with the same English mysticism that the music from Doctor Dee evokes. Later the same year, there was the premiere of Monkey: Journey to the West, the work of Albarn, the artist Jamie Hewlett and the Chinese actor and director Chen Shi-Zheng. In 2009, Blur temporarily reformed, crowning their return with a performance at Glastonbury; and in 2010, Albarn released the third album by his ongoing pop projectGorillaz, featuring, as always, Hewlett's artwork. And now there is this – his bravest step yet away from the musical mainstream.

The genesis of Doctor Dee dates back at least two years. Alex Poots, the Manchester festival's director, had approached the writer and graphic novelist Alan Moore with a view to involving him in a stage production, and Moore's passionate interest in Dee led to a meeting with Albarn and Hewlett. Albarn had already begun to think about working on an unspecified "heartfelt English piece", and learning about Dee's story hardened his resolve – but Moore and Hewlett then dropped out, leaving Albarn in charge of the project.

"I knew I had a fascination with aspects of history that were slightly more esoteric," he tells me. "I enjoyed history at school. I'd always had a sense of Pagan England. I have very clear memories of getting caught up in a TV series about Robin Hood when I was a kid. And I can remember having a strong sense of imagery from an old monastery in Sussex, near a house we were living in for the summer. This is all a personal thing: my relationship with these aspects of being English. But this story had so many catalysts: it didn't seem like it would be too mad an idea to start thinking in musical terms."

"I do harbour this feeling about my country, and it doesn't come out that often, because I'm off doing other things," he goes on. "Which is great, because that way, it gets stronger, and it's nice to wait till it really needs to come out. So this is more than something I'm doing for a festival. It's been brewing for ages, trying to find its essence."

Albarn's first source of information was The Queen's Conjuror, a much-praised biography of Dee by Benjamin Woolley, published in 2001. "That showed me how little I knew," he says. "The references go all over the place. So I began to say, 'Well, this month I'm going to be reading up on hermetic tradition. Then cabalism, and then Celtic pagan tradition, then the origins of Christianity.'" He says he's still ploughing through a mound of reading that may take five years to complete; the latest book is The Night Battles, an account of witch-hunts in Europe in the 16th and 17th centuries by the Italian historian Carlo Ginzburg.

Drawing one central storyline from Dee's incredible story looks almost too challenging. His life moved from London, to Cambridge, to Belgium, on to the Elizabethan Court, and in turn to Central Europe. His range of expertise was extraordinary, in an era just before science and the occult began to be disentangled. Dee has been credited with the first use of the term "British Empire"; he certainly insisted that England had a legitimate claim to North America, and argued that territorial expansion had to be led by a navy. His story intersects with those of such major Elizabethan figures as Francis Walsingham and Walter Raleigh; he is also believed to have been the inspiration for Prospero in The Tempest, and possibly for Marlowe's Doctor Faustus.

So where to start? Two weeks before my visit to Manchester, as various rehearsals take place around Albarn's HQ in west London, I talk toDoctor Dee's director, Rufus Norris. Part of the plot, he explains, turns on Dee's meeting with Edward Kelley, a mysterious figure said to be one of the Elizabethan period's itinerant "skryers" – self-styled seers and psychics. The pair began supposedly communicating with spirits, and then angels – who, Dee claimed, dictated no end of material to him in their own "Enochian" language, which he transcribed using odd symbols somewhere between runes and Greek letters. Unfortunately, Kelley's chief impact on his life was not nearly so other-worldly.

"It could be argued that in Britain, if not in Europe, Dee knew more than anyone else," Norris says. "And yet he screwed up when it came to the most simple imperative – to look after the thing that's closest to you. In their last consultation with spirits, Kelley gave him the message from God that they should share their wives. And everything fell apart from there. So in terms of how you find a narrative . . . well, the man learned a huge amount, he searched for more, and that search took him out on a precipice, and he fell off the end. It's a tragedy."

The songs that tell the story draw subtly on Elizabethan music, but also, thanks to Allen, on more unorthodox elements. Doctor Dee's core arrangements are built around organ, harmonium, drums, acoustic guitar, a harp-like Malian instrument called the kora – and such European instruments as the viol and theorbo, the latter a lute-like instrument with a long neck. The music is elegant and full of a sense of warmth and intimacy. In west London I watch a piece called "Godfire" taking shape, intended to suggest both the coronation of Elizabeth I and the recent royal wedding – a reference that might make at least some of Albarn's admirers a little uneasy (in 1997, he turned down an invitation to one of Tony Blair's Downing Street soirees, claiming he was "now a communist"). Alluding to the wedding's ceremonial fly-past, its opening line runs thus: "Hurricanes, spit and Tornado, growled over London today." In Albarn's telling, the song reflects the almost subconscious sense of nationhood that sits at Doctor Dee's heart.

"It was strange," he says. "That day, I was up at the top of my studio. My daughter and her mates wanted to watch the wedding there, because the studio has a big TV. So we were watching it, and I was also watching the fly-past happen outside. I'd just heard 'Jerusalem', and there were trees in the Abbey . . . I was moved."

I say that he doesn't strike me as a monarchist. "I'm not a monarchist. But I'm English. And I have an irrational emotion for my country."

Next year, Doctor Dee will play at the London Coliseum, as part of the Cultural Olympiad. Once its Manchester run ends, Albarn is travelling to Congo, to play his part in a project in which DJs and producers will record and sample Congolese music, and aim to complete a record in not much more than a week. Blur, he says, may reunite again, to play their old songs in the US, though when I ask him about the possibility of new Blur songs, I get a mumbled "don't know". There is also final work to be done on a largely instrumental album made by Albarn, Allen and the Red Hot Chili Peppers bassist Michael "Flea" Balzary.

And then? I ask him the question in west London, just after he and the musicians have run through another song. Albarn's face breaks into a smirk. "Oh, something that's the opposite of this. The most cheesy pop record ever."

The world premiere of Doctor Dee: An English Opera is at the Palace Theatre, Manchester International festival, 1-9 July 2011. For more details visit mif.co.uk

How exciting! Blur for the USA! 

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More Doctor Dee Opera updates - Damon Albarn on NME and interview

Just some more updates on Doctor Dee - Damon Albarn's new opera that's going to premier this July. Thanks to 2-J (Gorillaz Unofficial ) from the forums for the heads up.

From this week's NME MAGAZINE - an article with a few new pictures of Damon, sporting a massive beard and talking about his new opera. Click the scans below to enlarge.

Albarn has written 10 new songs that he's going to perform solo in the opera. Looking forward to that very much, especially as one of them, Apple Carts, has been performed in BBC a few days ago. Check that out HERE. 

And thanks to the Gorillaz Unofficial website, Damon did a little interview about the opera with fan submitted questions. Here is what is on the website:

Last week we gave you the opportunity to send in questions about Dr.Dee (through our blog, forums and twitter) which we'd pass on to Damon. The level of response was great and thanks to all of you who submitted questions - these were the ones that Damon picked out to answer, and his responses. A big thanks to Damon and well done to those who got their questions answered!

1. Is Tony Allen going to appear live in the opera?
Damon: Yes

2. How do you think the change in our concepts of 'science' and 'magic' impact on contemporary culture, particularly British? What's your agenda on that, that you'd like to get across [in the opera]? 
Damon: I like to imagine a reality where we had held on to ritual a little longer in England, bring back tea ladies!

3. What composers influenced you when you composed this opera?
Damon: I don’t know how much rubbed off on me, I hope a bit but I listend to a lot of Notre Dame School French Music.

4.Damon, did you get to handle any of Dee's artifacts at the British Museum? Specifically the Shew Stone?
Damon: There was talk of it but as of now I have not physically held it

5. Is it a comedy or a tragedy?
Damon: I think it might be more of a Requimedy

6. when you were creating the opera's music was it possible to travel back in time and start the composing from Dr. Dee's england? In other words how accurately can you channel your mind to a specific place or time when composing? or does it come naturally?
Damon: Music is time

7. In the trailer for Dr. Dee, the music that is played through-out features an African chime which flows with the imagery in it. Will this style of music be present in your new opera?
Damon: African Chime one of 7
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For More information on Dee check out http://doctorjohndee.tumblr.com/.

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Graham Coxon's OFFICIAL FACEBOOK FAN PAGE

Attention all Blur fans - Graham Coxon himself has made an announcement recently to all of us, and it's about his new official fanpage on facebook. Here is the broadcast, straight from the horse's mouth :

Click HERE or visit and like his page at : http://www.facebook.com/graham
coxonofficial

Graham also has a twitter account where he posts funny things all the time. Do check it out at:

http://twitter.com/#!/grahamcoxon

Remember to LIKE and Follow him! We support you Graham!