100th Window

The big guest vocal star this time is Sinead O'Connor who sings three songs, reminding us that once upon a time she was known as the incredible singer that she really is. Sinead also gets to unload some of her politicized lyrics in "A Prayer for England." Reliable Massive friend Horace Andy lends his always breathtaking and crystal-clear voice to two songs this time, but not even he can save the bland material he's working with. And "bland" is the key word here. Four songs are dragged down by the atrociously poor singing (a better word is vocalizing) by Del Naja. You already knew he has a flat voice, though on previous albums he actually functioned well as a counterpoint to Tricky or Daddy G. But here he just can't carry a song on his own. Musically, the super-advanced Massive trip-hop is still in effect, though without the punishing grooves and creeping dread of Mezzanine. Especially missing are the dope basslines, which are only present in the album's two best songs - "Special Cases" and "Butterfly Caught." Otherwise the music is still innovative, but heartbreakingly bland and featureless. Also, the album closes annoyingly with a basic synthesizer loop that repeats ad nauseam for eleven minutes (after "Antistar"). This can be ignored. The Massive magic still peaks out occasionally on this album, but we're seriously headed for light ambient territory here. Oh well, they've had a good run.


What's wrong with everyone?   January 18, 2005
Clarissa (Ontario, California)
30 out of 32 found this review helpful

I am in complete accordance with those who say that 'Mezzanine' is a masterpiece but I also feel that '100th Window' is a worthy follow-up to such a classic. Is it better? Not really, but I hear a definite growth of experimentation in sound. I haven't read any other reviews, however, I notice most of the ratings to be either 3 or 4 stars and I am left scratching my head, wondering why? My guess is many fans are having a difficult time getting into this album simply because the overall tempo is slower paced than the majority of their previous works, and perhaps your not used to hearing that from Massive Attack but, believe me, they've created some brilliant songs here. Just open your mind without any sort of expectation.

The mood throughout is rather somber with dark, atmospheric electronic dubs instead of funky trip-hop ones, and the inclusion of orchestrated instruments provide a cinematic feel that really seems to shade the melodies, accenting them chillingly. But by no means does '100th Window' tread into ambient territory. It would be best described as smooth electronica that will likely appeal to those who enjoy dance-tinged chillout music (visions of ice and snow come to mind when listening to this record). And replacing the sweet female vocalists Sara Jay and Elizabeth Fraser, who both sang on 'Mezzanine' when Andy Horace wasn't (and you gotta love his unique style, which I find to be very sexy...in a strange kind of way), the more powerful yet ever gorgeous Sinead O'Connor guest sings on several cuts here; most notably "A Prayer For England" which comes on after a slightly more upbeat "Butterfly Caught", a personal favorite of mine. My only complaint is that the album starts losing its luster a bit after track 6. However, given there's only 9 songs in all, this evens out to be a winner in my book.


Dark and brooding yet delightful.   February 11, 2003
S Matthews (Stoke, UK)
25 out of 26 found this review helpful

Owning all the previous Massive Attack albums I was awaiting this most recent instalment with great anticipation. In my opinion Massive Attack have, over the past decade, been honing and finely tuning their talents, extracting the finest moments of previous albums to make the next even more breathtaking. 100th Window appears to have benefited from exactly this, taking the most chilling and dark aspects of Mezzanine to produce their scariest album yet. This album has the 'inertia creeps' feel throughout with a hint of the east thrown in for good measure.

There is no 'teardrop' equivalent on this album which some may find disappointing yet Sinead O'Conor's vocals adequately compensate for the loss of Liz Fraser's presence. The album also features what may be some of Horace Andy's best performances to date, with a welcome softer approach.

In all, this deeply layered and lush addition to Massive Attacks collection of LPs is well worth a listen, whether you're a fan or not.


dead man walking   February 13, 2003
Russell E. Scott (Austin, TX)
21 out of 31 found this review helpful

The release of a Massive Attack CD is a major event. This fact you look no further than the back of the credits and witness arrows pointing to websites for the Red Cross, Greenpeace, Amnesty International, Stop The War, Chinese News Digest, plus others dignify this troubled music for troubled times. Without the input and help from his former mates, Robert Del Naja turns inward to produce one of the most errie soundtracks of our lives to date. This music is a dark, brooding, and subterranean blueprint for a misanthropic culture on the verge of explosion. Ably assisted by Neil Davidge on programming & keyboards, plus Sinead O'Connor and Horace Andy on vocals, this army of four comes armed to the teeth with discordant chords, raw sound bytes, and tunes that bark and bite. Forget all the albums that came before this. Make no mistake, 100th Window is not pop music, rather the sound of a world spinning off its central axis, a tad askew - the beat of our lives today. A warning, a wake up call, and hints dropped, whatever - utilize as you wish, but do get the message. This album was not intended to be some groovy background club music, TV ad accompaniment, nor top of the pops. In serious times we require serious solutions. This one is at your fingertips and ear lobes. Submerge yourself and unsettle.


A Respectable Step Forward.   February 24, 2003
The Groove (Boston, MA)
19 out of 22 found this review helpful

Massive Attack may not be Britain's most prolific group (in the last 12 years, they've released only 4 albums), but they are among the most influential. Each CD is less a recording than a dreamy landscape, replete with smart beats and dark atmospherics that shape up what we now know as trip hop. On "100th Window," Massive Attack takes a departure from prior efforts like the classic "Blue Lines" and 1998's "Mezzanine." The flavor is decidedly Eastern, and while Elizabeth Frasier hasn't returned to lend her vocals, she is replaced by Sinead O'Connor. The result is their most somber record yet. Throughout "100th Window"'s nine tracks (they all clock in at least 5 minutes), we witness chilly excursions like "What Your Soul Sings" and "A Prayer for England" (both featuring vocals from O'Connor), the sinister bite of "Butterfly Caught," and the gripping finale "Antistar." While I prefer the group's prior efforts "Protection" and "Mezzanine," Massive Attack's latest offering is still a respectable step forward from one of the UK's most innovative acts.