Venue:
O2 Academy, Birmingham
Date: 30/01/2016
The 3rd of my what I still might call techno forays, even I knowing my terminology grates against the full live Massive Attack experience, which hardly categorises as trip-hop either, now so vast and orchestral is the bass-heavy swell of sound. The tour is to promote the new material, audio and visual, with a lot of new, interspersed with what you might call greatest hits, maybe volume 2, so all the anthemic forbodings from Mezzanine and Heligoland were there, little from the first 2 albums, bar a Karmacoma, greeted with cheers by the heaving hall. Singers included Martina Topley-Bird, who gave good credit to Teardrop and the theme from Luther, and good old Horace Andy, a little dreadlocked gnome alongside Daddy G, but in as fine vibrato as ever. A striking new voice was Azukiel, spelling uncertain, striking also in stature an appearance, a welcome new find for their sound. Less so for me were Young Fathers, who, as well as being support band, did 2 songs as the 1st round of encores, from the forthcoming new material. Maybe I am not their demographic, scarcely fitting the bill for a young grandfather these days, but it seemed all bass reverb and shouting, getting dangerously close to that fabled note that causes reflex defaecation. Daddy G and Robert Del Naja came occasionally to the front, in truth leaving the band to take most of the attention, laptops and keyboards augmented by massive bass, gargantuan drums and a remarkable amount of guitar, passed through any number of filters and also played almost orthodoxly. Almost surprised me, did that.
The audience:
Packed and partisan. Mostly attempting a look of greying cool, and even succeeding. It was disappointing how limited a view of the stage was available from the balcony: I would have like to have seen more of the graphics back projected. I was also less than taken with quite how traditionally jobs worthy the security were, enforcing the rules of the house around where and how you may stand within every inch of their uniforms.
It made me think..
that Massive Attack are worthy of a higher place at the table that is often given them. Their sound is/was almost unique, instantly recognisable and, you know, getting better. My gig of the year; a no-brainer this early on, but I can see it lasting and taking a lot to beat.
Kaisfatdad says
Quite right. Our AW Canon won’t be worth much without an MA album.
Exciting to hear that they can still deliver so excitingly and draw a big crowd.
I’m curious about “Azukiel”. Googled but got no hits. MA always have a knack for finding excellent vocalists.
Tiggerlion says
His name is spelt “Azekel”.
Massive Attack have managed to tear me away from all my Bowie listening with their EP Space Ritual. At first, I thought it was merely Heligoland part two. But, then, I remembered that they released EPs before that and the tracks were changed or discarded for the album itself. On release, Heligoland struck me as Mezzanine part two until the music seeped under my skin, as Massive Attack music tends to do. It burned its way slowly into my heart. I find I love all Massive Attack albums equally, but differently, just as I do my children. I can’t bear the thought of having to do without one.
This EP is produced by 3D. He likes a guitar and a slowed-down techno rhythm. There are some strange sounds and ghostly backing voices on Dead Editors with Roots Manuva. I’ve always liked Roots. He seems like an honest fellow. His tone is very similar to Daddy G’s but there is enough of a London burr to set him apart from the Bristol crew. I especially like the breakdown when his voice cracks and you can hear the wind in the rafters.
Space Ritual itself is the one sung by Azekel, another Londoner, this time with a sweet falsetto. Teardrop casts its shadow over this song a bit and its lyrics are thin but a hand drum/handclap rhythm section (including the best recording of a tambourine I’ve heard) and a nice guitar figure more than make up any shortcomings. Massive Attack are at their best when they let a crack of light into the darkness and they do that here very nicely.
I thoroughly enjoyed the Young Fathers collaboration, Voodoo In My Blood. It’s a little crazy, unsettled by a skittering semi-techno rhythm and some strange distorted backing voices. It seems more like a Young Fathers track than a Massive Attack one until halfway when the bass swell and 3D’s guitars threaten to swamp it, almost like an old man telling the youngsters to keep quiet.
The final track, Take It There, sees the return of Tricky. It is the most conventional of the four tracks, pushed along by doomladen piano chords. I can’t yet make out the words, but they come across like a bunch of old men having a moan, making Karmacoma sound youthfully exuberant. Tricky’s wheezy whisper has turned into a groan.
I’d give it 8/10 and these four tracks cost me less than two quid as a download. Great value. Daddy G is producing the next EP, then there will be a new album later in the year. At last, something for me to look forward to musicwise.
Moose the Mooche says
Great post. I’m a little surprised that you’ve cracked, but given where you’ve gone I’m sure our mutual friend would approve.
I’m still in Deep Dave. Lives, remixes, sixties obscurities, I don’t know when it will end. Yesterday I hatched a diabolical plan to construct a playlist of all the DB in my iTunes in chronological order. Tragically I know I will actually do this.
Tiggerlion says
Don’t worry, Moose, the break was temporary. I’m back to The Villa Of Ormen already.
Moose the Mooche says
Might I suggest this as a “bridge”?
…for the benefit of those who haven’t heard this. Typically murky video, very amniotic.
Tiggerlion says
It’s only now, after trawling through his catalogue, that I’ve fully realised how many soundtracks Bowie was involved in. You could even make a case for Low to be effectively a soundtrack. I had thought Last Panthers was unusual for him.
Kaisfatdad says
Thanks to Tigger’s comment and this article, I finally get the Villa of Ormen reference and understand perhaps why the AW thread of that name got so many views.
http://www.newyorker.com/culture/culture-desk/the-beautiful-meaninglessness-of-david-bowie
Slow? Me?
minibreakfast says
Have you listened to the album yet, KFD?
Kaisfatdad says
Sorry Miss. I’m a bit behind with my homework.
“pulls socks up”
Kaisfatdad says
Thanks Tigger.
Here he is! He certainly has a distinctive set of pipes.
https://www.youtube.com/watch?v=L2B9YSlSCbs
Tiggerlion says
A Massive Attack video always enhances the track. Here’s Take It There, the one with Tricky, featuring a Walking Dead stagger home after a heavy night out. Make sure you stay with it for the dance at the end.
Tiggerlion says
Firstly, apologies to retro for hijacking his very fine Nights In. The highlight of my Massive Attack live experience is skanking wildly to Spying Glass. I hope they still perform it.
In December, they did a very fine soundtrack with Young Fathers for a short ten minute film protesting against climate change, La Fête Ést Finie. It is a perfect example of their current organic/electronic rhythmic hybrid.
http://youtu.be/gnu2pWLSYL4
retropath2 says
Is fine; gave me some background. I’m sure I’ll be able to return the compliment some day, when Bowie’s lost folk opus with Chumbawamba sees the light of day.
Tiggerlion says
I’ve given you an upsie to compensate. Five thumbs up is pretty good for a Nights Out (not a Nights In as I incorrectly claimed).
Lodestone of Wrongness says
Just turned on AW for the first time today after playing Massive Attack for most of the day (after Ella & Louis of course, every Sunday starts with Ella & Louis).
Off to download the EP – thanks guys!