The Good, the Bad and the Queen is an ambitious project.

Fronted by Damon Albarn of the Gorillaz and Blur, the band also includes Paul Simonon formerly of the Clash, and Tony Allen and Simon Tong, former members of Africa 70 and the Verve respectively.

They have been stigmatized by being called the UK’s new super group, and the whole enterprise could easily have fallen flat on its face in sheer pretentiousness, but luckily that is not the case.

Under the steady leadership of Albarn, the Good, the Bad and the Queen deliver. A rich mixture of the modern ideas with a respectful approach to what has come before, the album is nothing short of excellence.

Simonon’s characteristic dub influenced bass-play is sheer brilliance without taking too much space, building up a rich foundation for Albarn’s voice.

Allen beats a tight drum, almost mechanical at times. His performance on the record is a clear example of less is more, in the best sense of the statement.

The material is as thoughtful and bold as it is eerie and warm. The album is moody and experimental without losing sight of being pure pop.

The album is divergent from the ex-members past endeavors mostly in its execution, while still staying true to its roots in spirit.

There is a clear line of progression from Albarn’s last project, the high concept, comic-book neo-pop band the Gorillaz, and The Good, the Bad and the Queen. The ex-Blur singer has solidified his themes and tone and brought all of his previous musical insights to the next level.

If Albarn hadn’t experimented with the Gorillaz, he probably wouldn’t have initiated the Good, the Bad and the Queen.

None of involved musicians steal the thunder. Instead they downplay their talent and instead create something that is larger than the sum of its parts. That is no mean feat when considering who these musicians are.

The record has reeks of a brooding sense that something is wrong in the world, but not without shedding a glimmer of hope. It is a statement against all the powermongers and the rotting and cold society they are governing.

“Kingdom of Doom” has that epic gunslinger vibe that was so prominent in the best Clash songs, backed up by acoustic guitars.

It sounds like the kind of song cardcheats would be playing in the background before the brawl about who stole the money breaks out.

“Herculean” is an almost apocalyptic song about what has become of London, but not without the promise of something better.

The song is what could be labeled as a manifesto for the Good, the Bad and the Queen. It takes everything the band stands for and puts it in the same song.

“Eighties Life” is a soft-spoken doowop with a careful piano and guitars riding above the steady bass. Lyrically, Albarn tries to make peace with his past, all while directing a well-deserved kick towards Parliament and Washington.

“Behind the Sun” sounds like a sort of spook story ballad that is uplifted by its sugarsweet refrain and strings.

It is great to see that the old guard of England still can produce music of relevancy and age with dignity instead of becoming cheap shadows of yesterday.

What could easily have become a parody is instead a proud vehicle that carries on the torch of brilliant English music into 2007.

The Good, the Bad and the Queen was released on January 23 on Virgin Records