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It's less a proper album like Demon Days or Plastic Beach- more an auxiliary item like that live album or that G-Sides comp or that remix album (or, in Albarn's career as a whole, like his lowkey, homemade Democrazy set.) Albarn's mode may be somber and road-weary, but there's not a whole lot of heft here, which means it sounds like a unified outtakes record rather than a major statement. Songs like "Revolving Doors" and "Detroit" have the same hazily martial beats that have marked the Gorillaz' output since "Clint Eastwood", which makes The Fall slot neatly into the Gorillaz catalog. For one thing, that band has always had a strong visual component that makes the cartoon/hologram characters seem like they were meant to be up- and downloaded, so it's not hard to imagine them trapped in an iPad like General Zod at the end of Superman II. Even so, it's fitting that Albarn has released it under the Gorillaz moniker. At times it needs other voices to liven up some of these long stretches. But there's only one guest, a barely recognizable Bobby Womack on "Bobby in Phoenix" otherwise, it's Albarn singing and creating songs, which gives The Fall the feel of a solo album. The Fall contains opens stretches of loping, belching beats that are painstakingly crafted yet often sound like they've been created as backdrops for MC cameos.
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On the other hand, it doesn't appear to handle hip-hop very well. Instead, The Fall possesses the crisply eccentric production value of a typical Gorillaz album, which may be a testament to the iPad's ability to manipulate and combine sound files with little loss of fidelity or complexity. While Hockney's sketches clearly look like they were done on some kind of computer, nothing about Albarn's songs reveals their origins.
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The Fall, released for free on Christmas, is a nice marketing gimmick and the product of Albarn's restlessness on tour.