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Music : 100th Window
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Rating: 
- The five year wait...........
When 'Mezzanine' was released, it was subject to much the same criticism as '100th Window' is sure to be. Both 'Blue Lines' and 'Protection' were hailed as masterpieces, and had a huge following for their reggae/hip hop/soul/dub fusion. 'Mezzanine' was a significant departure from this sound as Robert Del Naja (3d) had firmly taken the reigns of chief songwriter and leader of the band. Del Naja's passion growing up was rougher music than that of his counterparts, leading to the live 'punk' feel of Mezzanine. Fortunately, because of other members such as Mushroom and Daddy Gee, 'Mezzanine' fused this new punk sound with established Massive sounds. The result was a brilliant, scary brit-soul album which rocked out.
'100th Window' represents a similar departure. Mushroom has completely departed the band, removing even the faintest hints of reggae and hip hop from the music. 3D now virtually independantly writes the songs, which are just as dark and cold as those of 'Mezzanine', but composed in a completely different manner. '100th Window' is composed as electronic music, as opposed to the other three albums, where the tracks where composed as songs. Changes are infrequent and non-existent in most tracks - a drum line simply comes in and out and alternates with the vocals. Vocals are now sung by 3D, and produced in a breathy, drawn out manner. Horace Andy's vocals are treated in the same way, which leads to an airy, spacey feel. Rap is now not an element of Massive Attack's music. While Sinead O'Connor's vocals sound good, they do not sound as effective as Tracey Thorn or Shara Nelson did. One of the biggest absences is the lack of hooks on any tracks - many tracks sound as catchy as Radiohead's noisescapes on 'Kid A'. Massive have always been known for having songs that would sound familiar the first time you hear them, i.e Safe from Harm, Hymn to the Big Wheel, Protection, Teardrop. '100th Window' is not as easy to listen to - the desired moods now are unease, depression and isolation.
It must be a stressful task for Massive Attack to release a new album. Both 'Protection' and 'Mezzanine' perfectly addressed the issue of both updating the sound but remaining true to the original philosophy of Massive Attack, which is based on their Wild Bunch days. Too many tracks on '100th Window' do not sound like a progression from 'Mezzanine.' Aside from a slicker production and more 'mixed-up' sound, to a large extent these new tracks are minimal in composition, and have been lazily sequenced. 'Butterfly Caught' and 'Small time Shot Away' are both perfect examples of this - they are simply album fillers. Conversely, 'Future Proof', 'Everywhen' and 'Special Cases' are great tracks, and are perfect fusions of this new compositional style with Massive's old sound.
This album is still a great listen, and any fan (like myself will buy it regardless. It does, however, seem to be their (can we refer to this albums as theirs?) weakest effort yet, and could easily have more approprately been released as a solo album by 3D.
Rating:
- Another Bittersweet Gem from Massive Attack
This one is definitely a grower (surprise, surprise!) After a couple of listens I was concerned it was in danger of becoming a Sinead O'Connor, rather than a Massive Attack album, as Sinead has such an unmistakable voice. Thankfully, this proved not to be the case, so all I can say is, don't be deceived by appearances!
No, this is at once deep yet inspiring, haunting and complex, with 3D testing his singing voice for the first time proper - check Smalltime Shot Away and Butterfly Caught - and his unique approach stands up. Definitely not to be dismissed or written off, after two original members sadly depart, this is in fact a cohesive, sublime and miraculous achievement.
Rating: - Safety First ......
A new Massive Attack lp is always something to look forward too, especially in the current musical climate. Bereft of up and coming musical talent a quality release is even more of an event than normal.
And here it is, everything that you would expect it to be. Professionally produced, almost clinical in delivery yet maintaining the brooding mystery for which Massive Attack lps are famous.
This lp sees the addition of Sinead O'Connor (or a very serious sound alike) on a few tracks.. Sinead these days spends moe time on other peoples records than she does her own ! Obviously her presence only serves to strengthen the package and 'Prayer For England' is one of the best tracks on the lp.
'Futureproof', 'Name Taken' and 'Everywhen'' are just class - true Massive Attack. The music is dark, reggae tinged techno with hints of Pink Floyd and Tangerine Dream thrown in for good measure.
If you liked the previous albums, you'll like this one. Two gripes though, there don't appear to be any 'stand out' tracks ('Man Next Door'/'Karmacoma'/'UnfinishedSympathy')and the overall feel which, and it pains me to say it, is almost complacent. It is carried off this time but I'm not sure they can do many more albums from the same starting point.
Rating:
- The best album yet....
'100th Window' is Massive Attacks fourth album and follows up the hugely successful 'Mezzanine'. The new album sees Massive Attack in a slightly different situation than before. This is essentially the work of 3D who has taken on the project without the help of DaddyG (who is absent from the album) and Mushroom (who quit the band). Instead for this project Sinead O'Connor lends her distinctive vocals to three tracks - What your Soul Sings, Special Cases and A Prayer For England - and brings a whole new dimension to the trademark Massive sound.
As a whole the album is quite a dark experience and the tracks are chilled out but have a haunting quality to them. The highlights for me being the first single, Special Cases with Sinead O'Connor, Future Proof and A Prayer For England - also with Sinead. Special Cases and A Prayer For England both use Sinead's vocals to maximum effect. Her Celtic whispers are unnerving whilst at the same time haunting and they make the listener take notice. There is no denying that these two songs are beautiful pieces of music. Future Proof is the opening track and sets the tone for the rest of the album. The vocals are whisper-like and the music is atmospheric and chilled out - just like you would expect from a Massive Attack album.
In my opinion this album betters Mezzanine and I feel it is another step forward on the Massive Attack legacy. Where they go from here is going to be intriguing but if the next album is even half as good as '100th Window' it will be a huge hit!
Rating: - MASSIVE ATTACK GO EPIC!
Massive attack return after a 5 year break and only one member (3D).
Pretty much the creative genius to begin with- 3D's 100th Window is a triumph. It may lack the consistency of Mezzanine (unusual choice for single Special Cases is one of their weakest coming across as self parody) but has its fair share of tracks, like Mezzanine, that sound absolutely brilliant from the start (Small Time Shot Away, What Your Soul Sings , Future Proof, Anti Star) as well as the tracks that come across as a little self indulgent at first (Everywhen, Butterfly Caught, Name Taken) but grow deeper with every listen.
Fans of Mezzanine (considered by their fans to be their best and an improvement on the sample heavy Blue Lines and the atrociously bland, coffee table antics of Protection) should be pretty happy with 100th Window. It's a little less organic, with live guitars (here replaced by Middle Eastern strings) only gracing a few tracks this time round. There is also a very slight hint of Boards of Canada at work here (not a bad thing), and this is pretty much a timeless dance record (whereas Mezzanine was more rock orientated). The intrigue and atmosphere is still very much here, only more so- if anything 100th Window works even more on the senses, and for pretty much the duration of this album (the whole CD- 76 mins) you will be on another planet.
This is the side of Massive Attack that we always wanted to see- a combination of their best moments with the spaced out epic grandeur of Group Four (a Mezzanine highlight) that was only hinted at before- coming pretty much full circle this time round (average running time for tracks here is roughly 7-8 mins).
I agree with the reviewer who likened them to Pink Floyd- this is brilliantly hypnotic music from an undeniably great band that believe in taking their listeners on a musical journey rather than selling copious amounts of records and appearing on the radio every 5 mins alongside Coldplay.
- The five year wait...........When 'Mezzanine' was released, it was subject to much the same criticism as '100th Window' is sure to be. Both 'Blue Lines' and 'Protection' were hailed as masterpieces, and had a huge following for their reggae/hip hop/soul/dub fusion. 'Mezzanine' was a significant departure from this sound as Robert Del Naja (3d) had firmly taken the reigns of chief songwriter and leader of the band. Del Naja's passion growing up was rougher music than that of his counterparts, leading to the live 'punk' feel of Mezzanine. Fortunately, because of other members such as Mushroom and Daddy Gee, 'Mezzanine' fused this new punk sound with established Massive sounds. The result was a brilliant, scary brit-soul album which rocked out.
'100th Window' represents a similar departure. Mushroom has completely departed the band, removing even the faintest hints of reggae and hip hop from the music. 3D now virtually independantly writes the songs, which are just as dark and cold as those of 'Mezzanine', but composed in a completely different manner. '100th Window' is composed as electronic music, as opposed to the other three albums, where the tracks where composed as songs. Changes are infrequent and non-existent in most tracks - a drum line simply comes in and out and alternates with the vocals. Vocals are now sung by 3D, and produced in a breathy, drawn out manner. Horace Andy's vocals are treated in the same way, which leads to an airy, spacey feel. Rap is now not an element of Massive Attack's music. While Sinead O'Connor's vocals sound good, they do not sound as effective as Tracey Thorn or Shara Nelson did. One of the biggest absences is the lack of hooks on any tracks - many tracks sound as catchy as Radiohead's noisescapes on 'Kid A'. Massive have always been known for having songs that would sound familiar the first time you hear them, i.e Safe from Harm, Hymn to the Big Wheel, Protection, Teardrop. '100th Window' is not as easy to listen to - the desired moods now are unease, depression and isolation.
It must be a stressful task for Massive Attack to release a new album. Both 'Protection' and 'Mezzanine' perfectly addressed the issue of both updating the sound but remaining true to the original philosophy of Massive Attack, which is based on their Wild Bunch days. Too many tracks on '100th Window' do not sound like a progression from 'Mezzanine.' Aside from a slicker production and more 'mixed-up' sound, to a large extent these new tracks are minimal in composition, and have been lazily sequenced. 'Butterfly Caught' and 'Small time Shot Away' are both perfect examples of this - they are simply album fillers. Conversely, 'Future Proof', 'Everywhen' and 'Special Cases' are great tracks, and are perfect fusions of this new compositional style with Massive's old sound.
This album is still a great listen, and any fan (like myself will buy it regardless. It does, however, seem to be their (can we refer to this albums as theirs?) weakest effort yet, and could easily have more approprately been released as a solo album by 3D.
Rating:
- Another Bittersweet Gem from Massive AttackThis one is definitely a grower (surprise, surprise!) After a couple of listens I was concerned it was in danger of becoming a Sinead O'Connor, rather than a Massive Attack album, as Sinead has such an unmistakable voice. Thankfully, this proved not to be the case, so all I can say is, don't be deceived by appearances!
No, this is at once deep yet inspiring, haunting and complex, with 3D testing his singing voice for the first time proper - check Smalltime Shot Away and Butterfly Caught - and his unique approach stands up. Definitely not to be dismissed or written off, after two original members sadly depart, this is in fact a cohesive, sublime and miraculous achievement.
Rating:
- Safety First ......A new Massive Attack lp is always something to look forward too, especially in the current musical climate. Bereft of up and coming musical talent a quality release is even more of an event than normal.
And here it is, everything that you would expect it to be. Professionally produced, almost clinical in delivery yet maintaining the brooding mystery for which Massive Attack lps are famous.
This lp sees the addition of Sinead O'Connor (or a very serious sound alike) on a few tracks.. Sinead these days spends moe time on other peoples records than she does her own ! Obviously her presence only serves to strengthen the package and 'Prayer For England' is one of the best tracks on the lp.
'Futureproof', 'Name Taken' and 'Everywhen'' are just class - true Massive Attack. The music is dark, reggae tinged techno with hints of Pink Floyd and Tangerine Dream thrown in for good measure.
If you liked the previous albums, you'll like this one. Two gripes though, there don't appear to be any 'stand out' tracks ('Man Next Door'/'Karmacoma'/'UnfinishedSympathy')and the overall feel which, and it pains me to say it, is almost complacent. It is carried off this time but I'm not sure they can do many more albums from the same starting point.
Rating:
- The best album yet....'100th Window' is Massive Attacks fourth album and follows up the hugely successful 'Mezzanine'. The new album sees Massive Attack in a slightly different situation than before. This is essentially the work of 3D who has taken on the project without the help of DaddyG (who is absent from the album) and Mushroom (who quit the band). Instead for this project Sinead O'Connor lends her distinctive vocals to three tracks - What your Soul Sings, Special Cases and A Prayer For England - and brings a whole new dimension to the trademark Massive sound.
As a whole the album is quite a dark experience and the tracks are chilled out but have a haunting quality to them. The highlights for me being the first single, Special Cases with Sinead O'Connor, Future Proof and A Prayer For England - also with Sinead. Special Cases and A Prayer For England both use Sinead's vocals to maximum effect. Her Celtic whispers are unnerving whilst at the same time haunting and they make the listener take notice. There is no denying that these two songs are beautiful pieces of music. Future Proof is the opening track and sets the tone for the rest of the album. The vocals are whisper-like and the music is atmospheric and chilled out - just like you would expect from a Massive Attack album.
In my opinion this album betters Mezzanine and I feel it is another step forward on the Massive Attack legacy. Where they go from here is going to be intriguing but if the next album is even half as good as '100th Window' it will be a huge hit!
Rating:
- MASSIVE ATTACK GO EPIC!Massive attack return after a 5 year break and only one member (3D).
Pretty much the creative genius to begin with- 3D's 100th Window is a triumph. It may lack the consistency of Mezzanine (unusual choice for single Special Cases is one of their weakest coming across as self parody) but has its fair share of tracks, like Mezzanine, that sound absolutely brilliant from the start (Small Time Shot Away, What Your Soul Sings , Future Proof, Anti Star) as well as the tracks that come across as a little self indulgent at first (Everywhen, Butterfly Caught, Name Taken) but grow deeper with every listen.
Fans of Mezzanine (considered by their fans to be their best and an improvement on the sample heavy Blue Lines and the atrociously bland, coffee table antics of Protection) should be pretty happy with 100th Window. It's a little less organic, with live guitars (here replaced by Middle Eastern strings) only gracing a few tracks this time round. There is also a very slight hint of Boards of Canada at work here (not a bad thing), and this is pretty much a timeless dance record (whereas Mezzanine was more rock orientated). The intrigue and atmosphere is still very much here, only more so- if anything 100th Window works even more on the senses, and for pretty much the duration of this album (the whole CD- 76 mins) you will be on another planet.
This is the side of Massive Attack that we always wanted to see- a combination of their best moments with the spaced out epic grandeur of Group Four (a Mezzanine highlight) that was only hinted at before- coming pretty much full circle this time round (average running time for tracks here is roughly 7-8 mins).
I agree with the reviewer who likened them to Pink Floyd- this is brilliantly hypnotic music from an undeniably great band that believe in taking their listeners on a musical journey rather than selling copious amounts of records and appearing on the radio every 5 mins alongside Coldplay.