Mezzanine

I must admit I was a little apprehensive when I'd heard that they'd gone all "rock" but my first listen to the album in its entirety after hearing the chilling tones of the first single "Rising Son" took all of my (mis)preconceptions, chewed them up and spat them a very long way away. The darker, deeper vibes, briefly visited on Protection's Eurochild are prevelant throughout, with 3D and Daddy G working somber menacing tones, presumably exorcising demons of some kind (the majority of the lyrics being typically cryptic).

Horace Andy, always welcome, is on his usual fine form, his spine-tingling falsetto providing a sublime, haunting edge to "Angel" and "Man Next Door", with new girl Sara Jay showing her rather fine vocal skills on the out and out rocker "Dissolved Girl". Grant (Daddy G) makes a more noticeable appearance than previously, his deep, gruff voice suiting the new vibe perfectly, and it is only after a couple of listens that you notice the absence of Tricky (presumably a result of him having gone "a bit wierd"), though this is no bad thing here.

It is the appearance of Liz Fraser (Cocteau Twins) that truly wins this album though, particularly on the astonishingly beautiful "Teardrop", a true tear inducing masterpiece (despite the lyrics being more or less incoherent!), with its lush strings and heart-beat imitating drum loops. Fraser continues to astound on "Black Milk" and again on her duet with Del Naja, on the apocalyptic penultimate track "Group 4", which is one to be listened to alone, whilst lying down, in the dark, with your stereo volume as loud as it will go.

The whole album, is must be said is rather an introspective one, to be most appreciated whilst alone, and will not appeal to everyone. Even confirmed Massive Attack fans may find its industrial leanings all a little heavy going, although it is all ultimately strangely uplifting, despite the dark, paranoid undertones throughout. One thing this is not, is a party album, but if you do dare to take it on, you will find yourself very well rewarded.

This is an album that can aptly be described as 'difficult' without actually being difficult to listen to. Massive Attack's strange and threatening audio world is so artfully arranged that it never strikes as discordant or awkward. If a first listen beguiles, and I assure you that it will, then repeated attempts will reveal new wonders and finally will render the darkness warm and cozy and the only sane response to life.

Played at a low volume the sounds that ooze from the speakers sit sulkily lurking at the corners of the room, ripe with menace. Played loud the heavy metal thunder of Angel or Dissolved Girl will work its corrosive magic in a way that the nu-metal fraternity can only dream of. The vocalist most associated with this album is Elizabeth Frazer and its easy to see why. The distinctive style of her vocals perfectly offsets the sullen and richly textured sounds in which they are set, like diamonds in black velvet. However personally I find Sarah Jay's only track, Dissolved Girl far more effecting. Her low voice is both sexy and, like Beth Gibbons of Portishead, conveys volumes of stark emotion just veering off desperation. Horace Andy's caramelised voice adds sweetness to every track that he sings on.

Despite the various different styles and plethora of vocalists, five in total, this album still manages more coherence then more straightforwardly structured bands seem capable. There isn't a duff track here and while no two tracks are the same they all share a certain indefinable quality that's unique to Massive Attack.

All in all a massive achievement and if, as seems likely, its their last album then a worthy swansong for one of the finest bands of the nineties. Oh yeah and its quite dark too.

This album can be seen as a logical progression from Blue Lines and Protection as the textures get more complex and the sounds more original. It's certainly my favourite of the three. With some beautiful vocals on tracks like Teardrop, and some amazing energy on tracks such as as Angel this album offers a spectrum of atmospheres to experience. Some great laid back rapping and beats to make you kneel on the floor and thank god you've got a pulse. The addition of crunching guitar in the backgorund alongside organic synths works brilliantly.

This is music you can have as background whilst doing other things, but that's missing the point. Mezzanine is music to breathe to.