![]() Obviously, the rest of the album can't compete, but there's certainly no sign of the side-two slump heard on Protection, as both Andy and Fraser return for excellent, mid-tempo tracks ("Man Next Door" and "Black Milk," respectively). With eerie atmospherics, fuzz-tone guitars, and a wealth of effects, the song could well be the best production from the best team of producers the electronic world had ever seen. "Inertia Creeps" could well be the highlight, another feature for just the core threesome. Massive Attack are an English trip hop group formed in 1988 in Bristol, consisting of Robert '3D' Del Naja, Grant 'Daddy G' Marshall and formerly Andy 'Mushr. The blend of earthy with ethereal shouldn't work at all, but Massive Attack pull it off in fine fashion. "Teardrop" introduces another genius collaboration - with Elizabeth Fraser from Cocteau Twins - from a production unit with a knack for recruiting gifted performers. "Risingson" is a dense, dark feature for Massive Attack themselves (on production as well as vocals), with a kitchen sink's worth of dubby effects and reverb. It all begins with a stunning one-two-three-four punch: "Angel," "Risingson," "Teardrop," and "Inertia Creeps." Augmenting their samples and keyboards with a studio band, Massive Attack open with "Angel," a stark production featuring pointed beats and a distorted bassline that frames the vocal (by group regular Horace Andy) and a two-minute flame-out with raging guitars. Set upon a white canvas, a hunk of black sludge stains the purity, thus creating something that looks futuristic and dark. With Massive Attack's third album Mezzanine, the cover asks for it. Mezzanine is a near-timeless album of defragmented dub, a definitive work of the ‘90s that still sounds like. Increasingly ignored amidst the exploding trip-hop scene, Massive Attack finally returned in 1998 with Mezzanine, a record immediately announcing not only that the group was back, but that they'd recorded a set of songs just as singular and revelatory as on their debut, almost a decade back. The predator that lurks on the cover of the album perfectly represents the moods locked in the album its in-your-. It's probably beyond clich at this point to start off an album review by talking about how the album's cover reflects the music, but screw that. It makes sense, considering Massive Attack are a band built on sample-based alchemy.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |