The Michigan Review

Massive Attack Can't Hurt You

by Julie Jeschke

Tired of listening to the same old Dave Matthews Band or ho-hum, no-imagination alternative crap? Do you want the people in your residence hall to walk by your room, hear what’s on your stereo, and be amazed? Obviously, a huge part of being in college is exploring and trying new things; this especially applies to music. Even if you’re just (sadly) looking for the next bandwagon on which to jump, read on, open-minded music lover. But don’t just passively read—buy the compact discs and buy the tickets. Massive Attack is coming to town.

Most people have never even heard of trip-hop, let alone Massive Attack. Trip-hop can hardly be considered a “new” genre, because it’s been around in England for nearly the past decade; nevertheless, its popularity has failed to flourish in our brutal United States, and it remains basically unknown. At your friendly neighborhood record store, you’ll probably find the music stagnating in the “techno” section. Artists that fall into the trip-hop category often despise being pigeon-holed—they hate to conform, and this might be the reason why their music is so obscure. It’s weird.

Massive Attack has three members (Robert “3D” Del Naja, Grant “Daddy G” Marshall, and “Mushroom” Vowles), but they have had a series of guest musicians, including Tricky and legendary reggae-singer, “I can sing higher than you, anyday, Dave Matthews” Horace Andy. Huge in the UK, they are credited with inventing the “Bristol sound,” which has been copied and modified by the likes of Roni Size and Portishead (yeah, you’ve heard of them, haven’t you?).

Chances are, you have heard their songs, somewhere, but didn’t realize who performed them. “Unfinished Sympathy” was used in the movie Sliver, “Angel” is on the þ soundtrack, and the latest Victoria’s Secret ad campaign features “Safe From Harm” (“I was looking back at you to see you looking back at me to see me looking back at you”). You might have even seen the video for “Teardrop” (its singing fetus tends to leave a lasting impression). They were also scheduled to appear in the supporting slot of the Verve’s summer tour, though they withdrew from that.

It’s difficult to describe Massive Attack’s music, simply because it is so diverse. Every song is delightfully unique, and the variety of sounds within each individual song is amazing. The group is constantly evolving; reinventing itself and forcing other musicians to either change, or face being left in the dust. Generally speaking, in the trip-hop world, the music’s tempo is slow and relentless, dominated by deep bass, rhythm drop-outs and an ominous feeling. The tone is sleepy and jaded, and the lyrics are usually sung in a soulful smolder by women and rapped softly by men. Nothing is carved in stone, however; the music is rather amoeboid.

If you like the essence of rap music (i.e. the rhythm), you’ll probably like Massive Attack. Many songs feature female guest singers, but a few do return rapping to being an Art (it is called “trip-hop” for a reason, folks—there are still strong ties with hip-hop). Perhaps the disgusting vulgarity of most rappers’ “music” completely repulses you. Rest assured, that M.A.’s lyrics are quite clean, innovative, and are very intelligent. Who else can use phrases like “hoi polloi” (it means, appropriately, “the masses”) and “nom de plume” and still make them rhyme? It’s also quite unique to hear them rapping in English accents.

I have yet to hear anyone who's heard their music say, "It's horrible," or something to that effect—once you hear it, you become a fan. I bought the most recent release, Mezzanine, based solely on a friend’s recommendation. I wasn’t disappointed; in fact, I was hooked. You, too, can become addicted. Massive Attack’s music will painlessly invade your mind. It is tranquil, mellow, and relaxing; great music to smoke to, if that’s your thing. You’ll never tire of it, and you’ll never stop wondering why this stuff hasn’t yet caught on with the rest of the world. But if you don’t act now, and miss the chance to see them at Clutch Cargo’s this Friday, you’ll be kicking yourself, eventually. Hard. And that hurts a lot. MR

This article was published in the 16 September 1998 edition of The Michigan Review (Volume 17, Number 1).
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