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at a glance...
Hometown:
Bristol, England
Year Formed: 1982
Personnel:
3D: production, vocals
Sinead O'Connor: vocals
Horace Andy: vocals
In the Family:
Tricky, Smith & Mighty, The Wild Bunch, Portishead, Neneh Cherry, Howie B, Björk, Horace Andy, Sinead O'Connor, Cocteau Twins
Notes:
In the early '80s, the pioneering force behind the Bristol sound was known as the Wild Bunch, an enormously popular DJ collective that dominated the local scene. As original members Nellee Hooper, Mushroom and Daddy G joined with 3D, a chunk of the Wild Bunch transformed into Massive Attack. Their debut album, 1991's Blue Lines, blew away the UK critics, but did not initially achieve much commercial success, despite three fantastic singles including the phenomenal "Unfinished Sympathy." 1994 saw their compelling, sensuous sound evolve on Protection, which was later remixed by the Mad Professor and released as No Protection. Despite the ever-shifting nature of the group, Massive Attack were able to surprise skeptics and survive extended touring and internal tensions, along with releasing an amazing third LP, Mezzanine, in 1998. Mushroom ended up leaving the band without contributing significantly to that album; and despite Daddy G's leave of absence 3D kept the sound system rolling with 100th Window in 2003.
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Massive Attack
100th Window
Virgin, Released 2003
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Although I had not heard anything from Massive Attack in about five years, they remained in the back of my mind. To me, they have a wonderfully irresistible attitude, tough but always sensitive. They are past masters at fusing hip hop, dub, jazz, and reggae, and they possess a rare ability to sound completely urban and strangely mystical. So I was pretty amped when I heard that they were coming out with 100th Window. Of course keeping expectations to a realistic minimum was important: not only were Mushroom's lusciously rich, slow as molasses MC skills long gone but Daddy G was reported to be on (hopefully temporary) leave of absence too.
Even so 100th Window has left me a little unfulfilled. I suppose that if the name is Massive Attack, I want a Massive Attack album. I do think this is a pretty good record - intricate, smooth, entrancing. It features vocal contributions from Sinead O'Connor, who maintains a commanding, ghostly presence, ably following in the footsteps of Tracy Thorn and Liz Fraser. But more indicative is the contribution of Massive Attack's respected standby, reggae artist Horace Andy. Even though Andy has worked with Massive Attack since Blue Lines out in 1991, he seems out of place. What's the deal?
Massive Attack was founded on black musical culture and their music seemed to take something spiritual from that. Besides the remaining dub influence, much of that seems to be missing on 100th Window. Instead, with Robert Del Naja, aka 3-D, directing the course of action, Massive Attack sounds more like an indie band gone dance - electric current, spit fire beats; Indian-influenced strings; gently bubbling keyboards and twittering; smoky male vocals and heavenly female vocals.
And I dig it for the most part. "Anistar" has a mega sexy beat and "Future Proof" is very darkly attractive. But it all feels like it's missing its backbone, and in places Del Naja seems to over-indulge himself. In music, when it's really good, a three-minute song feels like 30 seconds. It leaves you wanting more. So when 100th Window's eight-minute songs feel like eight minutes, you know you need to stop and evaluate some things. It sounds like Massive Attack are doing some serious remodling, and 100th Window is mostly a blue print for something new. I hope they don't end up collapsing; rather, I'd like to see Massive Attack rebuild the foundation that made their music something I'd patiently wait five years for all over again.
If you like Massive Attack, check out:
Massive Attack Mezzanine
Björk Vespertine
Blur 13
Radiohead Amnesiac
-- Lori Latimer
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