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Massive Attack are a collective from Bristol, England consisting of Robert "3D" Del Naja and Grant "Daddy G" Marshall and work with co-producers, as well as various musicians and guest vocalists. The duo are considered to be progenitors of the trip hop genre. Their début album,Blue Lines was released in 1991, with the single "Unfinished Sympathy" reaching ... Read more in Amazon's Massive Attack Store

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Heligoland + Mezzanine + 100th Window
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Product details

  • Audio CD (8 Feb. 2010)
  • Number of Discs: 1
  • Label: EMI
  • ASIN: B002ZPIC1M
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (78 customer reviews)
  • Amazon Bestsellers Rank: 11,505 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
  1. Pray For Rain 6:44£0.99  Buy MP3 
  2. Babel 5:19£0.99  Buy MP3 
  3. Splitting The Atom 5:16£0.99  Buy MP3 
  4. Girl I Love You 5:26£0.99  Buy MP3 
  5. Psyche 3:24£0.99  Buy MP3 
  6. Flat Of The Blade 5:30£0.99  Buy MP3 
  7. Paradise Circus 4:57£0.99  Buy MP3 
  8. Rush Minute 4:51£0.99  Buy MP3 
  9. Saturday Come Slow 3:43£0.99  Buy MP3 
10. Atlas Air (Instrumental) 7:48£0.99  Buy MP3 

Product Description

Product Description

Massive Attack are a seminal group of musical innovators whose early work detonated the Bristol music scene of the early 90's and unwittingly gave birth to "trip-hop". The group formed in 1987 around their influential and legendary Dug Out club and Jamaican-style soundsystem, playing a blend of hip hop, new wave reggae, early house and techno which shaped their acclaimed 1991 debut, Blue Lines. Mezzanine, their third album released in 1998 proved to be a creative and commercial peak selling in excess of three million albums.

Four years after the release of their best of album Collected and seven years since their last studio album 100th Window, Massive Attack return with their fifth studio album. Heligoland features original band members Daddy G and 3D, long time cohort Horace Andy and guest vocals from Damon Albarn, Hope Sandoval, Martina Topley-Bird, Guy Garvey and Tunde Adebimpe.

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BBC Review

Startling as this may be to thirtysomethings who grew up in prescribed awe of Massive Attack, but a whole new generation has arisen in the 12 years since their last pivotal album, Mezzanine, a generation to whom the Bristol duo are at best peripheral. So while an army of griping fans and sniping critics will argue that Heligoland doesn’t match their early triumphs, or break as much new ground, there will be younger listeners who hear it as something entirely new and recognise it for the gloomily, beguiling beauty it is.

Well, perhaps not entirely new. There are echoes throughout – of Radiohead, Portishead, even the crunching drums and soaring strings of Timbaland – which might make you think Massive Attack have finally become derivative, until you remember that they actually invented these strange, spooked sounds 20 years ago, only to see them plundered since. They’ve added new sonic flourishes – fidgety TV on the Radio guitars, some skittering Warp Records beats – but the emperors are mostly wearing their old clothes, though more stylishly than in years.

Another minor point: Heligoland could well be Massive Attack’s most consistent album. There are no songs as dazzlingly, blindingly perfect as Unfinished Sympathy, or Teardrop (although the gorgeous, satiny melancholy of Paradise Circus comes desperately close), but nor are there as many lesser tracks hiding in their shadows. The folksy, flimsy Psyche is forgettable, but every other song works its way stealthily and irrevocably under your skin, with that trademark combination of understatement and sonic richness.

Just listen to the gothic magnificence of the opening Pray For Rain, with its death-rattle percussion, mournful organ and mesmeric Tunde Adebimpe vocal, or the creeping, narcotic groove of the closing Atlas Air. In between there are songs as sleepily, dreamily rambling as Splitting the Atom (a return to the ghostly vocal interplay and dubby terrain of Risingson) or as pared down and single-minded as Rush Minute, with its relentlessly lapping waves of bubbling bass and rippling guitars.

Massive Attack spent their first 12 years as breathtaking pioneers, while 99.9% of their rivals might manage ten minutes of such inspiration. They may never be as original again, but as long as they make albums as rich, textured and seductive as Heligoland they will remain one of our most fascinating, extraordinary bands. --Jaime Gill

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Customer Reviews

4.0 out of 5 stars

Most Helpful Customer Reviews

1 of 1 people found the following review helpful By LynchFan on 21 April 2010
Format: Audio CD
When first hearing this album, i was left wandering if the boys Massive still had the clout that gave us the greatness of 'Unfinished Sympathy', and my first reaction was a dissapointing no. Loved everything between 100th window; that being the 'Collected' album, the 'Bullet Boy' soundtrack-sadly never released, only on MP3. The brilliant instrumental stylings of 'Danny The Dog'. So, going back to Heligoland-Although i did prefer the original speculated title 'Weather Underground'- it just didn't have that power to draw you in like their previous albums had. I know Robert Del Naja and crew are much older, but it just did not feel like them. The vibe was lost somehow. then after a few hearings i came to realise how strong the tracks were becoming. ' Pray For Rain' with its dulcet piano tones to ambient beat finale, i began to realise their genius. They are changing at a rapid rate throught he entire presentation of the album. like most of us who follwed their trajected path throughout the 90's. Standout tracks include the aforementioned 'Pray For Rain', 'Splitting The Atom'(co-written with the ever busy Damon Albarn) who contributes to other tracks on the album. 'Girl I Love you' with regular alumni Horace Andy, and the stunning 'Psyche' with Martina topley-Bird on vocal, although i heard this track takes alternate shapes on different pressings of the album. If you are new to the Massive experience it would be a good place to start, but i would urge you to back track to the genius of their wonder years. Robert Del Naja and Neil Davidge are pioneers in sound design and hopefully will not give us another 7 year gap between albums.
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50 of 58 people found the following review helpful By DIOONER on 7 Feb. 2010
Format: Audio CD
Massive Attack.

Just the name itself suggests waves of dubby synths, deep basslines, martial yet half-asleep beats and croony vocals. Sure, they helped define a genre for the 90s, that lame "trip hop" tag so many claimed to be part of and so few deserved, producing much groundbreaking music, especially in the shape of their debut "Blue Lines" (1991), which helped set DJ culture into the mainstream, and "Mezzanine" (1998) that added heavy, howling guitars in the mix to a mostly stunning effect.

So, what's to expect from this, their 5th album proper in a mere twenty years career ? Well, as many other reviewers noted, a bit of the same and something different at once. First striking thing is the actual sound of the whole record. Some pointed out a supposed return to the coldness of "Mezzanine", but that's not at all what I hear here. If "100th Window", their 2003 effort, was a letdown to many fans, being more of a 3D solo effort than a collective work, in fact it furthered the post-punk hint "Mezzanine" suggested, replacing the loud guitar shriek with icy electro beats. The results were, to say the least, mixed, but at least it was still seeking forward, sonically speaking. On "Heligoland", by contrast, everything is understated, from the drum patterns to the shy basslines, from a quiet organ part in the background to voices you feel are more dreamt than actually performed. That's a record that almost begs forgiveness for existing at all, rather than punching its pride in your face, which is why it probably won't get among die-hard fans (let alone the mainstream) the same praise as their giddy peaks mentioned above.
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2 of 2 people found the following review helpful By Mrs. J. Schofield on 24 Oct. 2010
Format: Audio CD Verified Purchase
I was introduced to Massive Attack by my daughter and immediately liked their last CD. This one however took me a while. My first thought was 'can't see me playing this much' but I left it in the car on the CD changer and gradually got used to it and now really appreciates the depths and nuances of the music.
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5 of 6 people found the following review helpful By Mr. S. Bennett on 31 Mar. 2011
Format: Audio CD Verified Purchase
To be honest, I overlooked this album when it first came out. The main reason was that the previous album, 100th Window, was incredibly one-paced, and, for want of a better word, dreary. The tracks on that album had poor lyrics, and one dimensional vocalists Del Naja (ok for a track or so) & Sinead O'Connor (?), and the tracks had no hooks, no progression, no definition, no edge, and for me, held no interest, sounding slightly muzaky.

Heligoland is what i call vintage Massive Attack. The variation is there, and a decent array of guest vocalists are present. So, in some respects this is like Blue Lines, but has more in common with Mezzanine, sounding quite dark and dense. 'Flat of the blade' does give the listener some restbite from that heavy atmosphere though, but even this track evolves and brings the listener back in by it's conclusion - it serves as a puncuation for the album (a good thing in my opinion). Whether Heligoland will hold my interest like Blue Lines (which, incidently, is starting to sound a little dated) and Mezzanine, or will suffer the same fate as Protection (which was accomplished but a little 'safe'), remains to be seen. I suspect it won't lose my interest because it has that slightly haunting quality and distinctive enough tracks. It will take quite a few listens to understand this album - more than the usual 4 or 5, i'm talking 10+ listens.

This has gone under the radar a bit, with people having unrealistic expectations of it, but trust me, there is some real quality here. A lot of the tracks ebb and flow with real aplomb, changing continually, most of which is subtly engaging in different ways, never stagnating, never repeating the same vocalists or patterns across the course of the album. No real standout tracks, but then why should there be? This is an album in the true sense of the word. It's going to be spending quite a lot of time in my CD player over the next few months.
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