Each of Massive Attack’s four proper studio albums has been a logical extension of the previous one. 1991’s Blue Lines had a strong r&b and hip hop influence, utilizing samples from Al Green, Billy Cobham, Herbie Hancock, and James Brown, just to name a few. 1994’s Protection moved the group further away from its northern soul roots and into darker territory; solidifying Massive Attack as the premier Bristolian “trip-hop” outfit. Protection, a beautiful, yet uneven and fragmented album, consisted of several brilliant tracks (notably the title track and “Eurochild”) interspersed with a handful of unnecessary and reasonably forgettable ones (“Sly” and a cover of the Doors’ “Light My Fire”). 1998’s Mezzanine is not only one of the best albums of that year, but also arguably one of the best and most important British albums to come out of the nineties. Mezzanine shows the group distancing themselves even more noticeably from the rap and soul influence of their 1991 debut. Mezzanine is almost completely devoid of the ‘70s samples that were so prominent on their debut; instead relying on more traditional instrumentation (although the album does include an Isaac Hayes sample, and even a sample of The Cure’s “10:15 Saturday Night”). Mezzanine is considerably darker than Protection, and features claustrophobic production similar to some of Massive Attack alumnus Tricky’s solo efforts.
Which brings us to 2003’s 100th Window. The five years listeners must wait through between Massive Attack’s solo albums can be frustrating and interminable, but 100th Window delivers a substantial dose of the haunting beauty that fans have come to expect. Not surprisingly, Massive Attack’s sound has become even more “inorganic” and electronic, and all traces of hip hop (with the exception of Robert “3D” Del Naja’s trademark monotone raps) have been removed. Longtime Massive Attack member Andrew “Mushroom” Vowles has left the group, and Grant “Daddy G” Marshall is supposedly on temporary hiatus from recording with the group as well. One could almost consider this as much of a 3D solo album as it is a Massive Attack record. 100th Window is, however, a Massive Attack album through and through, and a beautiful album as well. The claustrophobia and eerie production of Mezzanine have given way to a more ambient-oriented effort. There is still a brooding darkness to be heard and experienced on the album, but 100th Window is more relaxed than their previous release. As surprising as Sinead O’Connor’s presence on the album may initially seem, her presence works on this record. Her voice is in top form, and gives the album the same unique distinction that Elisabeth Fraser and Tracy Thorn did on previous releases. “Special Cases” integrates O’Connor’s vocals perfectly with the brooding bass line, haunting atmospherics, and driving percussion of the track. Reggae vocalist Horace Andy makes an obligatory appearance on a couple of tracks here as well, although his voice is less jarring and distracting than his previous work with Massive Attack. The ambient, keyboard-driven “Everywhen” is one of Andy’s best tracks with the group. Regrettably, 100th Window, despite what it delivers upon initial listens, does not serve as the uneasy, challenging album many fans came to expect after the audacity and uniqueness of Mezzanine. The record is strong and beautifully produced, yet somehow doesn’t deliver anything along the magnitude of their last record. Massive Attack, unfortunately, is faced with the burden of carrying the cross which was Mezzanine. All of their future releases will be compared, unfairly, with that outstanding album. This, however, is not to say that 100th Window does not have its share of brilliant moments. Despite the fact that all nine of the album’s tracks are reasonably powerful and strong songs, 100th Window just does not seem to have the impact of Massive Attack’s 1998 release. Perhaps Daddy G’s (and hopefully Mushroom’s as well) presence on future albums will lead to greater things. Mezzanine is almost completely devoid of the `70s samples that were so prominent on their debut; instead relying on more traditional instrumentation (although the album does include an Isaac Hayes sample, and even a sample of The Cure's "10:15 Saturday Night"). Mezzanine is considerably darker than Protection, and features claustrophobic production similar to some of Massive Attack alumnus Tricky's solo efforts.
Which brings us to 2003's 100th Window. The five years listeners must wait through between Massive Attack's solo albums can be frustrating and interminable, but 100th Window delivers a substantial dose of the haunting beauty that fans have come to expect. Not surprisingly, Massive Attack's sound has become even more "inorganic" and electronic, and all traces of hip hop (with the exception of Robert "3D" Del Naja's trademark monotone raps) have been removed. Longtime Massive Attack member Andrew "Mushroom" Vowles has left the group, and Grant "Daddy G" Marshall is supposedly on temporary hiatus from recording with the group as well. One could almost consider this as much of a 3D solo album as it is a Massive Attack record.
100th Window is, however, a Massive Attack album through and through, and a beautiful album as well. The claustrophobia and eerie production of Mezzanine have given way to a more ambient-oriented effort. There is still a brooding darkness to be heard and experienced on the album, but 100th Window is more relaxed than their previous release. As surprising as Sinead O'Connor's presence on the album may initially seem, her presence works on this record. Her voice is in top form, and gives the album the same unique distinction that Elisabeth Fraser and Tracy Thorn did on previous releases. "Special Cases" integrates O'Connor's vocals perfectly with the brooding bass line, haunting atmospherics, and driving percussion of the track. Reggae vocalist Horace Andy makes an obligatory appearance on a couple of tracks here as well, although his voice is less jarring and distracting than his previous work with Massive Attack. The ambient, keyboard-driven "Everywhen" is one of
Andy's best tracks with the group.
Regrettably, 100th Window, despite what it delivers upon initial listens, does not serve as the uneasy, challenging album many fans came to expect after the audacity and uniqueness of Mezzanine. The record is strong and beautifully produced, yet somehow doesn't deliver anything along the magnitude of their last record. Massive Attack, unfortunately, is faced with the burden of carrying the cross which was Mezzanine. All of their future releases will be compared, unfairly, with that outstanding album. This, however, is not to say that 100th Window does not have its share of brilliant moments. Despite the fact that all nine of the album's tracks are reasonably powerful and strong songs, 100th Window just does not seem to have the impact of Massive Attack's 1998 release. Perhaps Daddy G's (and hopefully Mushroom's as well) presence on future albums will lead to greater things.
1. Future Proof
2. What Your Soul Sings
3. Everywhen
4. Special Cases
5. Butterfly Caught
6. A Prayer for England
7. Small Time Shot Away
8. Name Taken
9. Antistar
More about: Massive Attack
