| Product: |
Mezzanine: Limited Edition - Massive Attack |
| Date: |
06/07/01 (157 review reads) |
| Rating: |
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Advantages: Virtually everything
Disadvantages: A couple of songs not perfect
A lot of people who I know will probably think that I’m wondering way out of character by liking this so much. All my friends know that they don’t even bother suggesting to me that I go out clubbing with them, such is my hatred of dance music. So what am I doing listening and indeed, loving a dance album? Well, one very simple answer… No ******* way are Massive Attack dance!
Now, as my regular reader will know (Hi! Thanks for living) I’m in a band and as that same reader will also know I’m mad about Mr Bungle. So naturally, shortly after I entered discussions with the other half of the band, Craig (Yes yes, I know that technically we’re a duo), about starting a band I rapidly introduced him to Mr Bungle. However, he took his time introducing me to the dark electronic noises of his favourite band, Massive Attack. While I can pretty much let the first two albums go flying past (Apart from Unfinished Sympathy of course) I really think Mezzanine is an absolute classic! In terms of comparing music and that whole stylistic bucket thing, Mezzanine could be described as approaching Nine Inch Nails without the metal guitar elements. Oh and lots of guest vocalists!
* Angel *
One of the themes of this album is huge, moody throbbing bass lines. So a huge throbbing moody bass line would be a good way to start the album off. It’s shortly joined by a complex yet spaced out drum beat. Slowly extra layers move in as the dreamy female vocals move in and the song starts building until it finally fly’s out of the traps as the vocal loops the line “love you” in an almost chant like fashion. A distorted electric guitar is the final icing layer on a very, very fine musical cake.
* Risingson *
I have no idea what the noise is that starts off this track, if you imagine whale song in the wind you’re pretty much there. A moody bass line joins in and then Massive Attack the
mselves start rapping – yes, I said rapping. But it’s not all “Gitting wicky wit ma sticky hoes” – it’s, well, ‘dark rap’ to use my standard way out of describing something by just making up a term. It’s very effective, they make good use of the two voices in the band and yet the whole thing is offset with a huge chorus of them singing “dream on” and holding the note. The mood this sets is just incredible, I’m struggling for words here. It’s hard to describe the music – the only recurring theme is a harsh looped synth riff – everything else is just a fly by night visit in the general ethereal quality of the song. Again, stunning.
* Teardrop *
There’s a chance you may know this one – the sounds of an open fire in the background, a simple looped drum beat and a gentle synth line coupled with fragile female vocals. A piano comes in to provide a richer backdrop to the song. Other than the addition of some dreamy synths that’s pretty much all the song does for 5 and a half minutes and yet at no point does the song become boring. I have no idea how they do it. Yet again, stunning!
* Inertia Creeps *
An increase of pace for this song. Several synth lines weave frantic paths around each other as dark rap once again provides the vocals and moody basslines once more provide the backing as the synths stop and start. Four tracks in and I’m running out of ways to say stunning!
* Exchange *
The pace goes right back down for this track. A slow dreamy wonder around nowhere in particular on a nice day. Gentle little synth riffs move around in no hurry to be anywhere while large amounts of phased (That’s the woooooooaaaaaaaaahhhhhhhhooooooooooo noise folks) parts move around the mix. A stunning track for late night listening, there I found a new way of saying it!
* Dissolved Girl *
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The bass line on this song is making my headphones resonate! Although maybe that’s because they are falling apart and I need some new ones… Anyway, a small looped synth noise forms the main backdrop to the female vocal, one that veers worryingly close to the little girl voices style of singing but doesn’t quite get close enough to annoy me. As the song goes along, more layers are added – all synth based with the exception of a rather crushing guitar riff that comes in later, all adding to the overall mood of the album. Only stunning at times this track, the crushing guitar riff being a particular favourite of mine.
* Man Next Door *
A complex drum part, full of echoes starts the track off, shortly joined by a simple bass line. Then wooshing synths, very stylised male vocals and a twangy guitar come in. The chorus is quite melancholy, lyrics about leaving an area (Housing estate? That’s the idea the song puts in my head) for the safety of your family. Not quite as stunning as the other stunning tracks, but still stunning it’s own special way!
* Black Milk *
A slow, almost inaudible, piano melody brings the track to a slow start as half swept synths play away quietly in the background. It’s back to female vocals but for some reason this song doesn’t seem as good as the others. It’s a bit to laid back for it’s own good, it never seems to go anywhere. Easily the weakest track on the album, to this man’s taste at least.
* Mezzanine *
Quality shoots right back up for this one. Moody throbbing bass that alternates between tonal and atonal notes, repetitive, dreamy yet haunting synths arrive from time to time as Massive Attack alternate between dark rap and breathy singing “All these are flaws” being a popular (And indeed effective) line that is chanted/sung/rapped at various times. Like Risingson, the mood created by this
track is just impossible to describe as various layers stop, start and change around. Once more, stunning.
* Group Four *
An instrument so sampled I can’t tell what it is, it just sounds broken – that’s not bad though! No, like most things on the album – it’s very effective. The opening minute is very haunting (Using that word a lot eh?) but takes a background role as dark rap joins the fray again as well as a female vocal. Definite late night listening this track. All dreamy eight minutes of it! The song does pick up towards the end though, as an electric guitar comes in (Sounds like INXS for the briefest of moments!) and the song gains a rather unsettling edge to it
* (Exchange) *
A reprise of the original instrumental, a few extra twists thrown into the music while the singer with the unique voice from Man Next Door crops up again to make you wonder just what he’s done to his throat to make those noises. Taken on it’s own as a track, (Exchange) isn’t incredible compared to Exchange. But as a way to finish the album it’s very good – it’s a bit familiar and just takes the mood down nicely to the end of the album.
Well, I hadn’t heard this when I decided on my top ten albums – but if/when I rewrite it - this album has a home in it, quite a high one as well!
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