100th Window

by

Massive Attack

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I am in complete accordance with those who say that 'Mezzanine' is a masterpiece but I also feel that '100th Window' is a worthy follow-up to such a classic. Is it better? Not really, but I hear a definite growth of experimentation in sound. I haven't read any other reviews, however, I notice most of the ratings to be either 3 or 4 stars and I am left scratching my head, wondering why? My guess is many fans are having a difficult time getting into this album simply because the overall tempo is slower paced than the majority of their previous works, and perhaps your not used to hearing that from Massive Attack but, believe me, they've created some brilliant songs here. Just open your mind without any sort of expectation.

The mood throughout is rather somber with dark, atmospheric electronic dubs instead of funky trip-hop ones, and the inclusion of orchestrated instruments provide a cinematic feel that really seems to shade the melodies, accenting them chillingly. But by no means does '100th Window' tread into ambient territory. It would be best described as smooth electronica that will likely appeal to those who enjoy dance-tinged chillout music (visions of ice and snow come to mind when listening to this record). And replacing the sweet female vocalists Sara Jay and Elizabeth Fraser, who both sang on 'Mezzanine' when Andy Horace wasn't (and you gotta love his unique style, which I find to be very sexy...in a strange kind of way), the more powerful yet ever gorgeous Sinead O'Connor guest sings on several cuts here; most notably "A Prayer For England" which comes on after a slightly more upbeat "Butterfly Caught", a personal favorite of mine. My only complaint is that the album starts losing its luster a bit after track 6. However, given there's only 9 songs in all, this evens out to be a winner in my book.

As I sit writing this review of Valentine's Day, I am brokenhearted for various reasons. One reason is the brand new Massive Attack album, which I bought three days ago mere minutes after it was officially released. I've been waiting excitedly for this album for five years, but sadly, nothing lasts forever. I won't argue with those fans who claim Blue Lines as the best Massive Attack album, but I am a ridiculous fanatic for Mezzanine which is certainly one of my favorite albums of all time, in any genre. But the group tension that made that album so mindboggling and gutwrenching are gone. The true musical mastermind of the group, Mushroom, quit due to creative differences, and Daddy G announced a "vacation." So now Massive Attack is made up of the last original man standing, Robert Del Naja (3D), plus new songwriting collaborator Neil Davidge. Del Naja is certainly a good songwriter and is qualified to keep Massive alive, but this album is probably the beginning of the end.

The big guest vocal star this time is Sinead O'Connor who sings three songs, reminding us that once upon a time she was known as the incredible singer that she really is. Sinead also gets to unload some of her politicized lyrics in "A Prayer for England." Reliable Massive friend Horace Andy lends his always breathtaking and crystal-clear voice to two songs this time, but not even he can save the bland material he's working with. And "bland" is the key word here. Four songs are dragged down by the atrociously poor singing (a better word is vocalizing) by Del Naja. You already knew he has a flat voice, though on previous albums he actually functioned well as a counterpoint to Tricky or Daddy G. But here he just can't carry a song on his own. Musically, the super-advanced Massive trip-hop is still in effect, though without the punishing grooves and creeping dread of Mezzanine. Especially missing are the dope basslines, which are only present in the album's two best songs - "Special Cases" and "Butterfly Caught." Otherwise the music is still innovative, but heartbreakingly bland and featureless. Also, the album closes annoyingly with a basic synthesizer loop that repeats ad nauseam for eleven minutes (after "Antistar"). This can be ignored. The Massive magic still peaks out occasionally on this album, but we're seriously headed for light ambient territory here. Oh well, they've had a good run.