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Massive Attack:
100th Window
I am listening to the first track on Massive Attacks new long player, 100th Window, and I suddenly have an urge to buy the fashionable, new premium malt beverage. You know which one Im talking about its hip, ultramodern, chrome, black, and Euro-styled. Along comes track three, and suddenly I cant think of anything else but that hot, new import luxury car. Man I would look great in that car its so hip, ultramodern, chrome, black and Euro-styled. Track five makes me consider purchasing a new electric razor, and track six makes me want tickets for that new movie in which the young ex-CIA operatives track down the young ex-KGB terrorists in Exotic Foreign City. Ah, Massive Attack, where did your relevance go? You, Shadow, and Portishead could do no wrong in my early college radio days, and though this album has moments of mild charm, it is nowhere near the chill brilliance of your earlier releases. How can I explain this? Its not enough to simply blame the likes of Moby and the Propellerheads, among many others, for feeding accessible down-tempo electronica to the all consuming beast that is faux-sophisticated modern advertising. It doesnt help that you stumble heavily with your guest vocalists. If its not enough that her lyrics and vocal styling are uninspired, your production drowns out all the elements that make Sinead OConnors voice unique, leaving only the impression of a paint by numbers, fill in the blanks, and otherwise standard, breathy female vocalist singing with forced sincerity. Then on Small Time Shot Away, you borrow Damon Albarn, who, between his new album and his collaborations all over the genre map, has become so ubiquitous that he is practically a pop-music clich. Your faltering in terms of this one aspect is not an isolated flaw; I fear it is indicative of a general slowing of your once deft hand. Your signature sounds, the glacial hip-hop beats, reverbed pianos, airy strings and espionage guitars they are all here, but they often feel like they have been included out of obligation. This is Massive Attack by formula. I should not be so upset. It is no longer the late 90s. Massive Attacks most recent work, along with that of many other former greats of the trip-hop world, should stand as a warning to artists on todays musical frontiers. Im looking at you specifically IDM, because it may not be too late. Amputate and move forward. At any rate, after listening to 100th Window so many times, I may pour myself a pint tonight and sit down with an old classic from the last decade, maybe Mezzanine, maybe Endtroducing or maybe Angels With Dirty Faces.
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