It features guest contributions from musician and producer Brian Eno, singer Natasha Khan and the Leytonstone City Mission Choir.

The album produced five singles: "Everyday Robots", "Lonely Press Play", "Hollow Ponds", US-only release "Mr Tembo", and "Heavy Seas of Love".

Albarn himself said in his official Facebook page that this record is his most soul-searching and autobiographical yet, explores nature versus technology and features guests Brian Eno and Natasha Khan, professionally known as Bat for Lashes.

[8] The official promo video for the first single, "Everyday Robots", was directed by artist and designer Aitor Throup, and posted on the singer's YouTube page on 20 January.

"[15] "Heavy Seas of Love", with Brian Eno and The Leytonstone City Mission Choir, was played live by Albarn at a YouTube event, however the original studio version also leaked online.

Coming Soon[26] Albarn premiered, "Lonely Press Play" at YouTube's pop-up venue at the Sundance Film Festival on 19 January.

The invitation-only performance included acoustic versions of songs from the record itself as well as El Mañana by Gorillaz and an as of yet unknown Blur track.

[27] Albarn was the subject of a half-hour episode of The Culture Show broadcast on BBC Two in February 2014, which focused on his previous bands and his current work.

The awards took place at the O2 Academy Brixton in London and were hosted by BBC Radio 1 presenter and NME columnist Huw Stephens.

[30] At the festival Albarn played various Gorillaz songs, including "Feel Good Inc" in which he was joined onstage by De La Soul.

On Tuesday 22 April guitarist Seye, tweeted that Albarn and his live band The Heavy Seas were filming a music video for the song.

[citation needed] The fifth single from the record is "Heavy Seas of Love" featuring Brian Eno and The Leytonstone City Mission Choir and will be released on 27 April 2014.

'Hollow Ponds' is a gloriously lazy lament where horses and passing trade 'reveal a pentangle', where 'dreams are shared on LCDs', and reveals more about Blur's second studio album Modern Life is Rubbish."

In summary he wrote: "For the most part here, however, Everyday Robots is a less ebullient, more intimate and reflective affair, as befits the tentative revelation of a man's soul.

"[63] In Clash magazine's review of the album, Gareth James wrote: "What Everyday Robots is, however, is a subtle, textured patchwork covering Damon Albarn's 45 years to date, with lyrics capturing snapshots of his childhood in Leytonstone through to a song he made up for a baby elephant he met in Tanzania.

She also said: "Everyday Robots may be too consistently low-key for the Blur massive, but it is an exquisitely pitched solo flight from a self-confessed serial collaborator.

"[65] Andy Gill of The Independent gave the album a 4 out of 5 star review praising the use of Lord Buckley samples on tracks like "Everyday Robots" and "Mr Tembo".

He compared Albarn's song-writing to that of rock legend Ray Davies and said: "It's a rare moment of extrovert cheer on an intimate, introspective album that takes tentative steps to reveal the soul behind the star."

And recommended that songs like "Everyday Robots", "The History of a Cheating Heart", "Mr Tembo" and "Hollow Ponds" were the standouts of the record as a whole.

Day wrote: "Everyday Robots is a multi-layered record, much like an aural pavlova, with gooey dollops of bittersweet, outright sweet, darkly morose and wistful reflection.

Though Day also pointed out his favourite tracks on the record as well: "'The Selfish Giant', featuring Bat For Lashes' Natasha Khan's dulcet pipes, is home to romantic-era piano motifs and glitchy beats.

The Brian Eno and The Leytonstone Mission Choir-featuring 'Heavy Seas of Love' is perhaps the grandest cut on the record, with rickety percussion and illustrious piano embellishments.

"[66] Jon Dolan of Rolling Stone gave a very positive review, citing Albarn's ability to produce and write melancholic music as one of the album's standout features.

Producer Richard Russell sculpts alluring atmospheric beats; Bat for Lashes singer Natasha Khan lends a faint harmony to the fragile relationship autopsy 'The Selfish Giant'; Brian Eno adds synths to 'You and Me' and vocals to the woozy chanty 'Heavy Seas of Love'.

The results can often recall Seventies Eno at his most meditative and Village Green-era Ray Davies at his most world-sick more than Gorillaz's bounce or Blur's guitar buzz.

"[61] Chris Schulz of The New Zealand Herald, was a little more critical of the album, writing: "'The hours pass by, just left on repeat,' he mourns on the shuffling broodiness of 'Hostiles'.

But Everyday Robots also comes with moments that are strangely addictive: 'Photographs (You Are Taking Now)' slow-motion throb sounds like something The xx would happily dance to, the title track combines a horror movie atmosphere with genuinely heartfelt lyrics, 'Lonely Press Play' sounds like a Gorillaz outtake that's just missing a De La Soul verse to elevate it to greatness, while the chirpy instrumentals 'Parakeet' and 'Seven High' deserve more exploration."

"[67] Andrzej Lukowski of Drowned in Sound wrote: "Everyday Robots is a lovely record, and in its lack of duds or whimsical twattery it's probably one of most consistent things Albarn has ever put his name to.

He also praised the album's track "You and Me" saying: "Much has been made of how personal the record is, but there's nothing searing as Blur's rawest moments – the abiding sensation is one of intense intimacy.

"[68] Alex Petridis of The Guardian wrote: "Beautiful, but subtle, cloudy and elusive, Everyday Robots certainly isn't the album it's purported to be.