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Heligoland | 
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| Artist: Massive Attack
Label: Virgin Records
Category: Music
List Price: $18.98
Buy New: $8.76
as of 3/11/2010 05:27:04 EST details
You Save: $10.22 (54%)
New (42) Used (11) from $7.29
Rating:  38 reviews
Sales Rank: 75
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.4 x 4.9 x 0.4
EAN: 5099960946621
ASIN: B002ZPIC1M
Release Date: February 9, 2010 (New: Last 30 Days)
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Pray For Rain | | • | Babel | | • | Splitting The Atom | | • | Girl I Love You | | • | Psyche | | • | Flat Of The Blade | | • | Paradise Circus | | • | Rush Minute | | • | Saturday Come Slow | | • | Atlas Air |
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| Editorial Reviews:
Album Description
HELIGOLAND is the much anticipated fifth studio album from legendary trip-hop duo MASSIVE ATTACK and the first new studio album since 2003's critically-acclaimed 100TH WINDOW. HELIGOLAND features an all-star cast of guest vocals from DAMON ALBARN, HOPE SANDOVAL, MARTINA TOPLEY-BIRD, GUY GARVEY and TUNDE ADEBIMPE. Long time cohort HORACE ANDY makes a return alongside Massive Attack founding members ROBERT DEL NAJA (3D) and GRAND MARSHALL (DADDY G). Damon also plays bass on `Flat Of The Blade' and keyboards on `Splitting The Atom' while PORTISHEAD's ADRIAN UTLEY plays guitar on `Saturday Come Slow'. The band also collaborated with DFA's TIM GOLDSWORTHY on selected tracks. The cover artwork features an original image by ROBERT DEL NAJA. Over the last three years Robert Del Naja has written and produced soundtracks for a number of films and documentaries, including `Trouble In The Water', '44 Inch Chest', `In Prison My Whole Life' and `Gomorra', the latter for which he won the David Di Donatello Award for Best Song. Massive Attack also won the Outstanding Contribution to British Music Award at the Ivor Novello Awards.
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| Customer Reviews:
Showing reviews 1-5 of 38
 Definitely a Keeper for people who enjoy an hourlong emotion trip, but not for people with short attention span February 17, 2010
Tiger Storm (Boston, MA United States)
3 out of 4 found this review helpful
Full disclosure: loved the old MA singles such as Protection, Tear Drop, Inertia Creep among others, but Loved 100th Window as a full length art piece. The level of sophistication is only rivaled by Radiohead's Kid A and In Rainbows. And here comes Heligoland, an album I also had high hopes for and initially underwhealmed for the "spliting the atom" EP and the first couple listens.
However, after about 3 times of full length listens, I recognized that a few elements are completely new here and elevated the artistic level and cohesiveness of this album to a whole new level. The consistent thread that holds all songs together is the cinematic album-wide development. Older classic MA albums are more singles driven, and less thought out as a whole, more of a cool collections of innovative ideas that are dazzling and attention grabbing, but substantively lacking and exhausting over repeated listen, meaning the songs form strong imprints in the listener's mind, and forces a more rigid interpretation in the listener's mind. Whereas the new album, also the case in 100th window, the individual songs are less of standouts, but resonate with other songs and were so carefully crafted with extremely suble and minimalistic elements that nudges the listener's mind, in a way that the songs induces and allows the mind to fill in its own imagination. I find this type of albums extrememly rewarding and versatile, and they almost sound new with each listen because I compose my own visual imagery depending on my moods.
I guess as I age and expand my music collection, I grew to love more subtle and open type of music, and Heligoland fits the bill extremely well. If you check the review of BT's new album, "these hopeful machines", you'll see people are more enthusiastic about that release. Although I enjoyed BT's previous works, the current offering stalled in the eailer 2000's era, and the non-stop full body assault type of music is getting tiring with each repeat listens. Not to put BT down, he composes some of the most gorgeous electronic melodies, and I'm happy when a BT tunes rotates up on my random playlist, yes, the chopped up album, but BT's songs are so strong and limiting, sometime I couldn't hit the skip button fast enough. I suspect the people who screamed loving BT will be sick of the album soon enough.
In a word, I think you have to see whether the music fits your brain structure or personal needs before going by other's review scores. So give it a few trys and see if Heligoland speaks to you. After purchasing the digital versions of this album, I and currently eagerly anticipating the Deluxe Vinyl Box from [...]. I'm also a proud owner of the 100th window vinyl sets. After 7 years, it's still THE album I go back again and again for the unique state of mind. Good luck!
Not the most exhuberant come-back, but... February 23, 2010
DIOONER
3 out of 4 found this review helpful
Massive Attack.
Just the name itself suggests waves of dubby synths, deep basslines, martial yet half-asleep beats and croony vocals. Sure, they helped define a genre for the 90s, that lame "trip hop" tag so many claimed to be part of and so few deserved, producing much groundbreaking music, especially in the shape of their debut "Blue Lines" (1991), which helped set DJ culture into the mainstream, and "Mezzanine" (1998) that added heavy, howling guitars in the mix to a mostly stunning effect.
So, what's to expect from this, their 5th album proper in a mere twenty years career ? Well, as many other reviewers noted, a bit of the same and something different at once. First striking thing is the actual sound of the whole record. Some pointed out a supposed return to the coldness of "Mezzanine", but that's not at all what I hear here. If "100th Window", their 2003 effort, was a letdown to many fans, being more of a 3D solo effort than a collective work, in fact it furthered the post-punk hint "Mezzanine" suggested, replacing the loud guitar shriek with icy electro beats. The results were, to say the least, mixed, but at least it was still seeking forward, sonically speaking. On "Heligoland", by contrast, everything is understated, from the drum patterns to the shy basslines, from a quiet organ part in the background to voices you feel are more dreamt than actually performed. That's a record that almost begs forgiveness for existing at all, rather than punching its pride in your face, which is why it probably won't get among die-hard fans (let alone the mainstream) the same praise as their giddy peaks mentioned above.
Take, for example, languid opener "Pray For Rain", magnified by TV On The Radio's Tunde Adebimpe ; on previous records, songs like "Safe From Harm", "Angel", "Protection" and even "Future Proof" were kicking proceedings in panache and style, but here you get a moody lament over a tense rolling drumbeat that keeps things tight but never to the point of explosion. If there's a revolution this time around (and as far as I know nobody pointed this out yet), that's precisely the fact that, for once, Massive Attack seem to have opted for a rather organic simplicity instead of creating the beat monster everyone expected (especially in the wake of the awesome "United Snakes" released in 2006 as the flip to "False Flags", and that could have been a welcome addition here).
Yet for all simple it appears, "Heligoland" is a much thought of record, being neither minimal nor easy, it's just that the main body of work hides behind the curtains. As always, the vocalists guestlist must have been quite helpful too : the two Martina Topley-Bird contributions, on the false calmdown "Psyche" and the tense "Babel" shine on, while, oddly, the exquisitely lightweight "Paradise Circus" - an obvious choice for the single - could have been an outtake from that singer's great LP, "Blue God"... except that it's performed (almost haunted, more like) by ex-Mazzy Star diva Hope Sandoval. Also, while not being a big Elbow fan to be frank, I have to give an accolade to their frontman Guy Garvey, who provides his wonderful, almost atonal falsetto on "Flat Of The Blade", making that difficult seemingly weird song sound like an early Peter Gabriel lost gem. Overall the record is less diverse but more consistent than other Massive LPs ; like another reviewer rightly pointed out, there's no real standout tracks yet there's no filler either (I still can't figure out, though, why Damon Albarn has been casted for the relatively dull "Saturday Come Slow", apart from his obvious friendship with the band).
Still, for all great those guests' performances are (and it has to be noted that for each one of them, the backing tracks seem to have been made up especially this time more than ever), it's from 3D himself and regular partner Horace Andy that the best comes again here ; at first together with Daddy G. on the narcotic anthem "Splitting The Atom", then the latter delivers on "Girl I Love You", which despite what its unworthy title might suggest, is a broody reggae-rock hybrid, driven by an epileptic bassline, while, like on "100th Window", the former gets to sound alarmingly worried and warmly seductive at the same time. At that, "Rush Minute" and "Atlas Air" are arguably the best things here, almost towers of song reaching the same heights the frightening "Antistar" did as the closer on the much maligned predecessor to this album.
So overall, "Heligoland" might not be as groundbreaking as the stuff Massive Attack are most known for, but it showcases a collective (with the back of Daddy G, largely absent from the previous decade's output) daring to experiment in his own field, which will be fair enough for some, and disappointing for others. But believe me, a bit like their underrated "Protection" (1994), that beast of a sensitive record (their best effort in my opinion, still), this really, almost physically, GROWS on you.
Long & Short...It's Massive Alright February 10, 2010
Chris (Parsippany, NJ)
9 out of 13 found this review helpful
Well, since it seems the other reviewers have covered the Rolling Stone/critical reviews in a song-by-song format, i see no reason to retrace steps already taken. BTW, nice job by the afore mentioned! Needless to say, if you're a massive Attack fan then you know they are a bit out there in the inovative sense and this album is no different. Where Blue Lines & Protection were easy listens the first time around..preparing us for Mezzanine...this album like 100th Window takes a bit more time to savor. At first listen, it is certainly heady, with a vaguely familiar aroma yet stark in contrast to everything before. 100th Window took me about a month to fall in love with but once I did...bliss. Heligoland I feel much of the same. Very different from what we know but clearly still Massive in undertone. Reminds me a bit of a B-sides album in a way. Songs fit very well together but nothing that's ready for primetime...which is why I suppose we love Massive Attack to begin with. Twice through it now, I like it...it ain't a love affair yet but if history repeats and I unravel the layers...I can see it going into biblical rotation..so long and short: Buy it! C'mon...it's Massive Attack...if you are reading this you know you're gonna buy it whether its good or not cause you have to have everything they print...just so happens that they pulled off another winner so 'One-Click' this bad boy!...enjoy
repetitive depth which grows with repeated listening February 10, 2010
Deven Gadula (san francisco, ca, united states)
2 out of 3 found this review helpful
This album is not going to be liked by all fans of Massive Attack, or at least not right away. The depth of music of Blue Lines or Protection, or the intensity of Mezzanine seems to be lacking here, although probably everyone will notice that the music is stronger that anything we have heard from Massive Attack in the last 12 years. I would dare suggest that the depth of music is still here, but it has been...relocated. Miles Davis once said that his musical style kept changing on him, just like a curse. Well, after 16 years in business Massive Attack has gone experimental, atmospheric and minimalist all at once. However, all those changes affect mostly the added layers of the background of their music.
I have to say honestly that I have been disillusioned with a lot of new music of various styles, lately, and this new album by Massive Attack to me is one of the nicest musical surprises of the last many months, ever since Porcupine Tree's The Incident was released. The incorporation of the experimental ambient layers of sound in addition to the industrial tones which for a long time have been with Massive Attack makes this album unique to me. The overall mood is mellow, peaceful and reflective but it spreads over a wide sound texture. These songs may sound simple and plain at first, but they do grow on us with repetitive listening. I really feel like with this album the music of Massive Attack positioned itself somewhere between Massive Attack and Radiohead, and that is a perfect place to be in. Really, the Zoviet France like undertones of a few of their new songs (this album hides many jewels in the back of itself and its songs) are exactly the layers which make the music of Radiohead so addictive. The song number 7 for example, reminds me a little bit of Radiohead's Videotape.
I especially like tracks: 8,5,7,9,10,1.
Track 1 begins like cover of some bluesy Peter Green song from In The Skies, and then progresses into many different stages and layers. Track 2 is driven by a Joy Division like sounding bass and drum line and it is one of the most energetic songs of the album. Track 3 develops one of the most haunting atmospheric background melodies. Track 4 is full of texture which again, is located at the final minute of a song, a very Radiohead like approach. Track 5 has a Steve Reich like repetitive feeling to it. It is quite beautifully structured with a skillfully interwoven vocal line. Track 6 is very trippy and will probably turn quite a few listeners off. However, there is much more happening here besides the Skinny Puppy like rhythm section which becomes less prevalent as this song progresses. The beauty of track 7 is apparent from the beginning and it has a hypnotic quality. Just play it on repeat 1 and you might experience a beautiful enchanted evenings. Track 8 floats in between Massive Attack, Radiohead and Joy Division, a truly perfect ground. Both tracks 9 and 10 are...very complex... underneath.
Again, please listen to this album quite a few times before you decide that you really don't like it as much. This music will grow on you...
Give it a couple listens, and you'll love it. March 3, 2010
Rogelio Castro III (Milwaukee, WI)
Nearly flawless. I didn't care much for "Psyche", but the rest of the album is perfect.
Showing reviews 1-5 of 38
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