Their eyes changed as they learned to see through flames.

It’s been well over a decade since I loved any new Massive Attack material.  It only took one album, “100th Window”, for me (and many others) to see exactly what Mushroom’s input into their previous work was.  The quiet, often in-the-background guy who (as far as I know) never had any vocal appearances – but it appeared that he was the one who had the raw, subtle and often unnoticed elements that filled out the soundscapes.  Massive Attack walls always had cracks in them; Mushroom was the one picked away at the edges and gave them the unpolished character.

Let’s step back though, as this already sounds like I’m not giving Robert “3D” Del-Naja and Daddy G enough credit.  Yes, there were cracks in the walls and well-known conflicts between the three, but in the end this was ultimately a contribution to their sound.  We’re not talking about shiny bubblegum chart shit here… it’s Massive Attack: a sound system consisting of a mash-up of influences and ideas.

“100th Window” was anticipated, but in the path up to it’s release the cracks in the wall had developed into giant holes.  Mushroom departed shortly after “Mezzanine”, and Daddy G apparently walked in and out of the project multiple times.  The result was a bit like the album’s cover art (which is reportedly the most expensive in record label EMI’s history) of a full size glass human statue being blown up – transparent, shattered and messy.

So it was with cautious optimism, hope and patience that I approached Massive Attack’s 5th studio album “Heligoland”.  Their first 3 albums are held in high regard in my music collection… one bad album shouldn’t mean I cut them off completely, right?  I have to move past the fact that Mushroom has gone.  There’s no more Shara Nelson (“Unfinished Sympathy”, “Safe From Harm”).  No more Tracey Thorn (“Protection”, “Better Things”).  No more Nicolette (“Three”, “Sly”).  No more Liz Fraser (“Teardrop”).

Horace Andy is still here though, albeit in a different style than previous songs which are usually angled more the in the dub/reggae style. “Girl I love you” instantly boils with a pacing bassline and quickly steams up with horn blasts and a dense atmosphere.

The album opens with album with “Pray for rain” – a slow rolling track featuring Tunde Adebimpe that could easily link itself onto the end of “Mezzanine”.  It’s a promising start with trademark turns throughout the song, including a moment that resembles the sun breaking through thick winter clouds.  “Splitting the atom” is a sonic black-hole with an almost cartoonish, Gorillaz-flavour while showcasing stark contrasts of Daddy G and 3D’s vocal styles.  “Splitting the atom” video here.

“Flat of the blade” is instantly uncomfortable with odd electronic wobbles, rapid flickering drums and Elbow’s Guy Garvey chanelling David Bowie.  Meanwhile, “Paradise Circus” is almost erotically immature at it’s opening, but gains experience quickly thanks to Hope Sandoval’s floaty vocals, and lathers itself into a slick, sensual ride by the time second verse rolls in.  The perfectly-placed but completely unsafe-for-work video can be found here.

Additional vocals are supplied by Blur/Gorillaz’ Damon Albarn on “Saturday Comes Slow” and Martina Topley-Bird on “Psyche”.

Overall, a great album with some instant stand-out songs, and a few that feel like growers.  It’s not as cohesive as any of the first 3 albums, but it’s definitely a step in the direction of them while showing that there is still life in the Wild Bunch.

More at www.massiveattack.com