Massive Attack

Massive Attack

Massive Attack are a British trip hop group, founded in 1988 by Robert Del Naja, Grantley Marshall, and Andrew Vowles in Bristol, England. The trio were together prior to the formation of this band, as part of The Wild Bunch. With the release of their debut album Blue Lines in 1991, Massive Attack were critically acclaimed for their fusion of jazz, hip hop, rock, and soul elements into a style that journalists in the mid-nineties dubbed trip hop. With the release of later albums such as Protection in 1994, Mezzanine in 1998, and 100th Window in 2003 the group integrated a greater degree of electronica into their sound. Over the years, Massive Attack have teamed up with the likes of Madonna, Mos Def and Sinéad O'Connor among many others.

Massive Attack began as an offshoot of the popular mid-1980s sound system The Wild Bunch. The core group consisted of three members, Robert Del Naja ("3D"), Grant Marshall ("Daddy G") and Andrew Vowles ("Mushroom"), along with occasional Wild Bunch collaborator (and also Del Naja's roommate) Tricky. In 1988 they released their first single "Any Love", followed in 1991 by their first album, Blue Lines, featuring the hit singles "Unfinished Sympathy" (with Shara Nelson) and "Safe From Harm". The album, which was produced by Cameron McVey, was well-received both critically and commercially. Blue Lines subsequently became one of the most influential British records of the 1990s, ushering in a new genre of music sometimes referred to as the 'Bristol sound', but more often labeled trip-hop, a label Massive Attack have said they dislike. Despite the use of breakbeats, samples, and rap courtesy of Tricky, "Blue Lines" is distinct stylistically from American hip-hop. The music is more complex, layered, and atmospheric, earning the designation of trip-hop, with its unique British tone and aesthetic The group were prominent in the 1980s Bristol club scene, and are considered pioneers of trip-hop.

During the first Gulf War the band temporarily changed their name to Massive after pressure from their label, to avoid implying support of the attack on Iraq. In 1994, Massive Attack released their follow-up album, Protection, an album that featured two string instrumentals arranged by Craig Armstrong. This marked Tricky's last collaboration with Massive Attack, as he chose to concentrate wholly on his solo career. Tricky used lyrics from other songs (chronologically before and after the album's release) at some points during the recording. Several of the lyrics from "Karmacoma" shared between Tricky and 3D were later sung by Martina Topley-Bird on Tricky's single "Overcome". On "Eurochild", Tricky borrowed lyrics from "Blank Expression" by The Specials. Two songs ("Protection" and "Better Things") feature Everything But The Girl vocalist Tracey Thorn, whom the band collaborated with on a remake of The Marvelettes' hit "The Hunter Gets Captured by the Game" for the Batman Forever soundtrack. In 1996, the band won a BRIT Award for "best dance act". One year later, the group contributed to the movie soundtrack of The Jackal, recording "Superpredators (Metal Postcard)", a number containing a sample of Siouxsie and the Banshees.

Massive Attack's third album, Mezzanine, was released in 1998. With Mezzanine, the band moved to a darker, tense sound filled with distorted guitars and a combination of drum machines and live percussion that, with the exception of Mushroom-led track 'Exchange / ' lacked the laid-back, jazzy nature they had occasionally shown in previous albums. Elizabeth Fraser of the Cocteau Twins sang lead vocals on three tracks. Andy "Mushroom" Vowles, having become increasingly dissatisfied with the direction of the group to the point where it was felt he was intolerable to work with, reluctantly left in the autumn of 1999. Their producer Neil Davidge, who worked with Del Naja for much of his material on Mezzanine took on an even more central role. The release of Mezzanine also led to a change in Massive Attack's live show. In addition to their previous simple set up of a few mics and turntables, the group began incorporating more and more live instrumentation into their shows. In addition to their usual numerous guest vocalists, the trio were now being joined on stage by a live guitarist, bassist, drummer, and keyboard player, as well as a video screen and lighting effects from United Visual Artists. Two tracks from this album appeared in motion pictures. One is the track "Angel," which is included in the movies Pi,, Stay, Snatch, Antitrust and Flight of the Phoenix. In the film Go, "Angel" is played at high volume by the drug dealer Todd as he searches Ronna for a hidden microphone, but the song is not included in the soundtrack,the song was also included in the opening credits of the movie:"Firewall". In the movie The Matrix, the track "Dissolved Girl," which was co-written by Sarah Jay (featured vocalist) and Matt Schwartz is playing through Neo's headphones as he sleeps passed out in front of his computer. The song is listed in the movie's credits but does not appear on the soundtrack. "Angel" was used in the hit drama The West Wing Episode Commencement during the ending scenes at the night club when Zoe is kidnapped as well as an early episode of the NBC series Third Watch.

Massive Attack's fourth album, 100th Window, which was recorded without Marshall, was released in early 2003. It entered the Top 10 at Number 1 in the UK. In 2004, Massive Attack, without Grant Marshall, released an instrumental soundtrack for the feature film Danny the Dog, which was produced by Luc Besson. The film's title was changed to Unleashed prior to the American release, though the album was initially released under the original title as it came out months before the film. 2005 saw Neil Davidge and Robert Del Naja contribute another soundtrack, this time for the feature film Bullet Boy. Also in 2006, the band released a greatest hits compilation, Collected. The two-disc set includes selected tracks from their studio albums, some rare singles, and two new tracks. The DVD layer of the second disc also contains all the group’s music videos to date. Massive Attack also returned to the studio to work on material for their next record. Of the three original members, Del Naja and Marshall have returned to record the group’s fifth studio album. Del Naja will be in one studio with producer Neil Davidge, and Marshall will be working from his own studio on the other side of Bristol. On the other side of the Atlantic, their song "Teardrop" was used in North America as the theme to the Fox TV series House, MD. "Teardrop" has lyrics, sung by guest vocalist Elizabeth Fraser of Cocteau Twins; however, the version used in the opening credits uses only the beginning and ending sections, which are instrumental; "Teardrop" is also used in a season 1 episode of Prison Break titled "Tonight," where again only the beginning and ending sections are used.

2007 saw Neil Davidge and Robert Del Naja produce scores for the three films, In Prison My Whole Life, Battle In Seattle and Trouble the Water. In early 2008, Del Naja, with Davidge and Euan Dickinson, composed the track "Herculaneum" for the end credits of Matteo Garrone's film Gomorra. In the summer of 2008, Massive Attack toured with seven new potential songs for their next album and curated Meltdown festival in May. In November 2008, Massive Attack's longtime producer, Neil Davidge finished the soundtrack to Paul McGuigan movie, Push.

During November and December 2008, Robert Del Naja worked on the soundtrack for movie 44 Inch Chest with Bristolian TV/film music production duo, The Insects.

The group are continuing to work on their long-awaited fifth studio album, notionally referred to as 'LP5'.

Over November and December, Del Naja and Marshall worked with Damon Albarn at his studios, with Albarn adding elements to the existing material and starting a few new tracks which may feature on the record.

Currently Massive Attack plan, at least officially, to finish work on 'LP5' and have it mastered by May this year, anticipating an autumn release through EMI, provided that a shorter than traditional 6-month promotional lead-time can be agreed upon, perhaps by way of an internet-only release, as has been rumoured. However, long-time fans of the group will be aware of the notorious number of ignored deadlines over the past few years - the relatively fast release of 'Best Of' Collected in 2006 was, in part, justified by the notion of it ushering in a new studio album just one year later and their curation of the 2008 Meltdown festival was also expected to catalyse the finishing of the record. Taking this into account some fans suspect a release in the 2010's as more likely.

The band have been confirmed to headline the 2009 Bestival. Once again, there is an expectation that this event will herald or coincide with "LP5"'s release, or at least some sort of release.

Robert Del Naja or 3D or "D", Grantley Marshall or Daddy G or "G" and Horace Andy are expected to feature as vocalists.

Various others are being considered for "LP5", as at the end of January it was undecided as to whether any of the following mooted artists would be chosen to feature: Stephanie Dosen and Yolanda from Phantom Limb - both of whom have toured with the group most recently, Elbow's Guy Garvey and Damon Albarn - both of whom have co-written songs and perrenial favourite, Elizabeth Fraser.

Other singers have been speculated upon and the following are thought to be less likely to feature: Jhelisa Anderson , TV On The Radio's Tunde Adebimpe , Mike Patton , Dot Allison and Fredo Viola as well as a number of artists "G" is thought to have approached with demo backing tracks - soul chanteuse, Alice Russell, folk icons Patti Smith and Hope Sandoval, and David Bowie who they remotely collaborated with on the Moulin Rouge soundtrack piece 'Nature Boy'.

Even Tom Waits and Tricky have been mentioned as in the frame for "LP5", but these collaborations are thought to be least likely and not to have not reached backing track stage. Finally, Sia has been reported as having worked with the group on a number of websites.

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Massive Attack discography

Massive Attack are a British trip hop group, founded in 1988 by Robert Del Naja, Grantley Marshall, and Andrew Vowles in Bristol, England. The trio were together prior to the formation of this band, as part of The Wild Bunch. The group has released a total of four full-length albums, two EPs, and 16 singles.

Massive Attack's debut album Blue Lines was released in 1991, fuzing jazz, hip hop, rock, and soul elements into a style that journalists in the mid-nineties dubbed trip hop. With the release of later albums such as Protection in 1994, Mezzanine in 1998, and 100th Window in 2003 the group integrated a greater degree of electronica into their sound.

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Blue Lines

Blue Lines is the debut album by British electronica group Massive Attack, released on April 8, 1991 (see 1991 in music) by Virgin Records.

Generally considered the first trip hop album--though the term wasn't coined until several years later--Blue Lines was a success in the United Kingdom, though sales were limited elsewhere. A fusion of electronic music, hip hop, dub music, '70s soul music and reggae, the album established Massive Attack as one of the innovative British bands of the 1990s and the founder of trip hop's Bristol Sound. Music critic Simon Reynolds stated that the album also marked a change in electronic/dance music, "a shift toward a more interior, meditational sound. The songs on Blue Lines run at 'spliff' tempos - from a mellow, moonwalking 90 beats per minute ...down to a positively torpid 67 bpm." The group also drew inspiration from concept albums in various genres by artists such as Pink Floyd, Public Image Ltd., Herbie Hancock and Isaac Hayes.

Blue Lines featured breakbeats, sampling, and rapping on a number of tracks, but the design of the album differed from traditional hip hop. Massive Attack approached the American-born hip hop movement from an underground British perspective, as well as incorporating live instruments into the mixes. It features the vocals of Shara Nelson and Horace Andy, along with the rapping of Tricky Kid. Blue Lines proved to be popular in the club scene, as well as on college radios.

In 1997 Blue Lines was named the 21st "greatest album of all time" in a 'Music of the Millennium' poll conducted by HMV, Channel 4, The Guardian and Classic FM. In 1998, Q Magazine readers placed it at number 58 in its list of the '100 Greatest British Albums Ever;' and in 2000, the album was voted at number 9 in the same poll.In 2003, the album was ranked number 395 on Rolling Stone magazine's list of the 500 greatest albums of all time.

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Trip hop

Trip hop is a music genre also known as the Bristol sound. The trip hop description was applied to the musical trend in the mid-1990s of downtempo electronic music that grew out of England's hip hop and house scenes. It is often rejected as a term by those artists to whom it is applied. It has also been described as "Europe's alternative of choice in the second half of the '90s", and a one-up fusion "of Hip-Hop and Electronica until neither genre is recognizable." It is thus categorized as a fairly experimental genre, and sometimes with elements of Dance.

Sometimes characterized by a reliance on breakbeats and a sample-heavy, often moody sound pioneered by Coldcut's remix of Eric B. & Rakim's "Paid in Full", trip hop gained notice via popular artists such as Massive Attack, Portishead, Tricky, Thievery Corporation, Amon Tobin, and rock-influenced sound groups such as Ruby, California's DJ Shadow, Cut Chemist, Unkle, and the UK's Gorillaz, Howie B., Morcheeba, originating from Hythe in Kent, Londoners Glideascope, New York's Bowery Electric, and Seattle's Anomie Belle are also often associated with this sound.

Trip hop originated in the '90s in Bristol, England, during a time when American hip hop started to gain increasing popularity in Europe along with the then well established House music and dance scene.British DJs decided to put a local spin on the international phenomenon and developed hip hop into a different style, marking the birth of trip hop. The name is meant to suggest the spacey, down-tempo feeling of trip hop music. Originators in Bristol modified hip hop by adding a laid-back beat ("down tempo") – Bristol's signature sound in hip hop (trip hop's predecessor) was characterized by its emphasis on slow and heavy drum beats and a sound drawing heavily on acid jazz, Jamaican and dub music. Trip hop took root in Bristol partly because of its deeply rooted sound system culture and its relationship with a black identity. It is important to note that, as an important slave-trading centre in the 18th century, Bristol's black community has influenced black British identity for centuries. Bristol is 2.8 percent black and has a well-integrated youth culture that grew out of the integrated school systems. Under the influence of American hip hop from the 1980s both black and white British youth became consumers of hip hop. Hip hop in the UK was immediately fused with black soul and elements of dancehall.

The term "Trip hop" was coined by music journalist Andy Pemberton in the UK magazine Mixmag to describe the hip hop instrumental "In/Flux", a 1993 single by DJ Shadow, and other similar tracks released on the Mo' Wax label and being played in London clubs at the time. "In/Flux", with its mixed up bpms, spoken word samples, strings, melodies, bizarre noises, prominent bass, and slow beats, gave the listener the impression they were on a musical trip, according to Pemberton. James Brendall termed the experience of trip-hop with the combination of "computers and dope".

Massive Attack's first album Blue Lines in 1991, is often seen as the first manifestation of the "Bristol hip hop movement" (known as the "First Coming of Bristol Sound"). 1994 and '95 saw trip hop near the peak of its popularity. Massive Attack released their second album entitled Protection. Those years also marked the rise of Portishead, Tricky and Red Snapper (although from London). Portishead's female lead singer Beth Gibbons' sullen voice was mixed with samples of music from the '60s and '70s, as well as sound effects from LPs, giving the group a distinctive style. Tricky's style was characterized by murmuring and low-pitched singing. Artists and groups like Portishead and Tricky led the second wave of the Bristol Movement. This second wave produced music that was dreamy and atmospheric, and sometimes deep and gloomy. The British press termed this style of music "trip hop," referring to this evolved style of hip hop; this term should not, however, be confused with the American usage which is closer to rap music. Other seminal, more commercial trip hop albums include "Homebrew" (1992) by Neneh Cherry and "Breath From Another" (1998) by Esthero. These albums, as groundbreaking as they were, sold very poorly regardless.

In 1994 Trip-Hop was applied to a wide variety of electronic music that was later divided into sub categories such as Big Beat, and Electro. After the success of Massive Attack, Portishead and Tricky albums in '94 and '95, a new generation of trip hop artists emerged with a more standardized sound. "Post trip hop" artists included Morcheeba, Sneaker Pimps, Chloe Day, Alpha, Mono, Mudville, The Aloof, Glideascope, Cibo Matto, Projexam, etc. These artists integrated trip hop with Ambience, R&B, Breakbeat, Drum 'n' Bass, Acid Jazz, New Age, etc. Furthermore, vocals expanded beyond melancholy female voices. The first printed record for the use of the term "Post trip hop" was as late as October 2002 when British newspaper The Independent used it to describe Second Person and their hybrid sound. Trip hop has now developed into a diversified genre that is no longer limited to the "deep, dark style" of the early years, eliminating the original impression of trip hop as "dark and gloomy." See Hidden Door for example.

The overall feel of Trip-Hop has also reverberated in recent times to seemingly non related music genres and artists. Traces of the sound can be found in many works by artists such as Nine Inch Nails and Deftones.

In Bristol itself, the live action feel of trip hop left its evidence on the burgeoning late 90s drum'n'bass scene producing innovative styles of the sound such as Roni Size and Reprazent and Third Eye Foundation producing distinctively low-fi varieties of the clean cut London sound.

James Lavelle, founding member of UNKLE and owner of the famous trip hop label Mo'Wax stated, in 1994, "British hip hop lacks the lyrical skills of US counterparts, but British kids have got the musical side, " and "They know about records. That's the step forward. Now they can do their own style, they don't have to copy anything." An absence of vocals in trip hop (in its earliest days) lead it to find its own voice by replacing vocals with more abstract sounds and having less of a focus on imitating American hip hop.

Trip hop is known for its melancholy, surreal aesthetics. This is due to the fact that several acts were inspired by post punk bands; in the 1990s, Massive Attack and Tricky both covered Siouxsie and the Banshees and The Cure.

Trip hop production is historically lo-fi, relying on analogue recording equipment and instrumentation for an ambience. Portishead, for example, records their material to old tape from real instruments, and then sample their recordings, rather than recording their instruments directly to a track. They also tend to put their drums through considerable compression.

Later artists have taken inspiration from many other sources including world and orchestral influences as well as film scores. In fact, artists such as DJ Shadow or Portishead extensively used film soundtracks as an influence with its acoustic instruments and orchestral sounds designed to create a mental imagery of a cinematic experience and immerse the listener to a mood of aural reverie rather than a focused attention to social commentaries or lyrics of gangsta rap.

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