MASSIVE ATTACK

100th window

CD, Virgin

Welcome to the year 2002. Everybody waited eagerly for this record to appear and every magazine from Teenstar to Playboy wrote about it. Most of them praised “100^th window”, but mainly due to the acclaim and success (both artistically and economically) of Massive Attack a few years ago. I only read one negative review of “100^th window”, which supported me in my mistrust against musical journalism as a whole and in my trust as a guide to modern music in this one special magazine. The fact is: “100^th window” is, even though it was produced almost solely by 3D as all of you have read somewhere, a typical Massive Attack-record. It has everything you expect from a Massive Attack record – the cool beats and atmosphere, the spherical sounds, the thick layers of eerie and chilling synthie-sounds, guest singers that let run chills up and down your spine (good as ever: Sinead O’Connor – she can do no wrong, really…) and the label of “Massive Attacks” runs right through from the visual design right down to the last bit of the music. I have no doubt, that “100^th window” will be played in hot bedrooms and hip restaurants all through western civilization, because it is a good record, yes.

But something is missing and I have an idea as to what it is: the progression. Massive Attack were one of the most innovative electronic bands around back then. And “back then” is about 1990 to 1995, from “Blue Lines” via “protection” to “Mezzanine”. There were just a few other artists that could hold up to them, such as Björk or Autechre maybe. But that is quite some time ago, and in 2002 the shelves are stack full with chill-out samplers, sunny-side-up-compilations, from “Playground” to “Warm up your living room” and back again. Every flavour you are looking for, from exotic to straight, from grooving to laid-back, there are at least half a dozen compilations and artists delivering.

I wouldn’t be surprised if soon there was an internet-website, were you just tack your favourite styles and atmosphere and a software then calculates a one-hour-piece of music that is exactly what you wanted. Of course, computer-generated music is never any good, because the moment of unexpectedness, of free will is missing. Music, no matter what instruments are being used, from orchestra to an Apple-laptop, still has to have something human. But most people don’t care as much about music as I do. They want something they like that they can run in the background. I am talking about “Muzak with free delivery” – I am sure it would work fine.

“100^th window” is still a lot better than most of these compilations (though not some) and definitely better than computer-generated music, but what is missing is the feeling of steeping onto completely new land together with the band. Maybe it is just a matter of “not as good as the were, because back then they were new” – which is something that cannot be undone. Moreover, the big harmonies are missing. Only one song “a prayer for England” sticks in my memory after repeated listenings. “100^th window” is missing the big moments, the seconds were your heart stops and then you feel the big, energizing release together with some highpoint of the music. `Massive Attack had this back then.