Massive Attack
Heligoland
8.2 out of 10
It's been almost 7 years since Massive Attack's last full release 100th Window and that release was technically a 3D solo album, due to the complete departure of Mushroom (because of artistic differences) and the temporary departure of Daddy G (to raise a family). 100th Window found 3D in a bit of a holding pattern, not transcending the brilliance of Mezzanine, but not replicating it either. Most of the tracks seemed to meander with no direction and I wondered if Massive Attack would ever be able to regain their footing. Now with 3D and Daddy G back in the Massive Attack fold together, they have released Heligoland, and it is interesting listen, owing to the wane in the popularity of trip-hop and the rise of genres such as dubstep.
Heligoland is not a leap forward as most of Massive Attack cds have been. This isn't the brilliant trip-hop manifesto that Blue Lines heralded, nor is it the tense, paranoid futurescape that Mezzanine portended. But neither is it the unsure Protection or the stilted 100th Window. It is clearly a work by a band unsure of where it wants to go, however, the majority of the release holds up to Massive Attack's best material and thus is the reason why I have scored it as high as I have.
One of the most striking things about Heligoland is how organic it sounds. Mezzanine and 100th Window were highly produced, utilizing start of the art electronics and effects, whereas here, Massive Attack use more traditional sounding drums, pianos, strings and woodwinds. This forms a more natural backbone for the tight production.
The cd begins with the stately "Pray for Rain" with TV on the Radio's Tunde Adebimpe on vocals which showcases this new organic sound with dark, ominous piano fills, and almost military sounding percussion:
Massive Attack are known for their exquisite taste in using outside vocalists on their releases. While there is nothing here that transcends the brilliance of their collaborations with Shara Nelson, Tracey Thorn, and Elizabeth Frazer, the almost loose quality of the collaborations ends up feeling very cohesive and family-like.
My favorite collaborations are with Mazzy Star's Hope Sandoval on the gorgeous and haunting "Paradise Circus":
The abstract, beat-laden "Flat of the Blade" with Guy Garvey of Elbow.
And "Saturday Comes Slow" with one of Damon Albarn's most beautiful vocals:
Heligoland is a slow burning cd that takes time to get it's claws into you. While it will not be my favorite Massive Attack cd, it has slowly risen to a high place in their canon for me. Though it feels like a stop-gap cd before they decide what direction to take next, there is enough creativity and newness to allow it to breathe and feel more forward-moving.
