Massive Attack - "Protection" (1994)

Massive Attack's sophomore album, Protection, for me really sits between Blue Lines and Mezzanine, in both its sound and how I feel about the record. The groups style has evolved from the more embryonic version of trip hop present on Blue lines; with the dub, soul and hip hop influences more seamlessly merged together into something darker and more brooding. Yet the album doesn't possess the alien and suffocating atmosphere that runs through much of Mezzanine, and made it so utterly captivating. It's still a really great listen though.

The record opens up on its best, the absolutely fantastic title track. Tracey Thorn's soothing vocals glide over a reverb heavy drum loop and an emotional synth chord pattern. Other elements come and go in the mix, building up to a swell during the chorus. The nearly 8 minute track gives so much time to be absorbed by its atmosphere and heartfelt lyrics about caring about someone and wanting to protect them. Karmacoma follows, contrasting the serenity of Protection with a dubby, tropical atmosphere. It has this cavernous, repetitive sounding percussion and weirdly distorted synths that crop up during the chorus. Thorn also provides vocals for the track Better Things, a minimal and laid-back tune. A simple guitar loop provides the backbone for the song, with the occasional swell of synths or guitar as flourishes. It is all about vocals here. Tracey croons over the mix about not overthinking life and provides the mantra of "Here me say, better things will surely come my way" as the hook.

The tracks Three and Sly feature Nicolette Suwoton on vocals, and both have a mysterious, Middle Eastern vibe to them. Sly in particular is accentuated by lavish strings, making the track sound effortlessly cool, like it should accompany a globe trotting film where the protagonist has found some mysterious hidden city in the desert. Three has more of a synthetic feel to the instrumentation, with a rigid electronic beat and a looping sample of someone saying "Three", repeated into a chant that fades in and out. It certainly makes the track feel less cinematic, but no less mysterious. Euro Child also has a very synthetic atmosphere to it, with the group gently rapping over the grimy beat. There's some melody in this track that sounds almost like vocals, but they are processed to the point that its hard to tell. These are juxtaposed a lounge-esque keyboard line, which gives a very weird off-kilter quality to the song; as if its trying to lure you in despite its harsh and rigid atmosphere.

The penultimate track, Heat Miser, is much closer to the tense claustrophobia of Mezzanine. Ventilated breathing appears at the back of the mix alongside a rigid beat. A dramatic string part accentuates the main piano melody of the song, which itself is intense and spooky. The actual closer is a live, dub cover of The Doors' Light My Fire. It's a great cover, but does feel like a bonus track (even though it's part of the regular track listing), since it is far more lighthearted and fun than the rest of the album.

While I feel like my perception of this album is slightly affected by experiencing Mezzanine first (as everything the group do here is done even better on the next record), it is still a really well executed record. The sounds of this record ebb and flow, and take you on a moody and atmospheric unwind. It also strikes me as an interesting listen from the perspective of the band's sonic development over their first three records. There is a clear progression between each album, yet the development is very linear - there's no real detours into completely different genres along the way. And the title track is so good it makes a listen worth it just for that.

Top Tracks: Protection, Karmacoma, Better Things, Euro Child, Sly, Heat Miser

8/10

Blur - "Parklife" (1994)

A friend of mine gave me for Christmas this year a '100 albums you need to listen to' poster, where you scratch off each one once you've listened to them. I have listened to 15 of them already, but I thought I'll go through the remaining 85, and write about them here as I listen. This is the first one I've scratched off from that 85. Blur are one of those artists that I adore their Best Of album (there isn't a bad song on it), yet previous to this I have never listened to any of their studio LPs.

Parklife is the group's third record, and is the one which broke them and Britpop into the mainstream (along with Oasis's Definitely Maybe), and contains some of the band's biggest singles: Boys and Girls and the album's title track, Parklife. These tracks perfectly encapsulate what the band and Britpop was about, being fun, bouncy guitar-pop tracks with witty, tongue-in-cheek commentary on life as a working class British youth. The synth pop groove and squelchy bass of Girls and Boys, and the immensely catchy (but also impossible to remember) chorus make it sheer pop-perfection. Phil Daniel's cockney spoken word verses on Parklife are enigmatically charismatic; detailing the characters morning routine, feeding the pigeons and slagging off Audi's slogan.

The rest of the albums singles are the tracks that I am most familiar with, as they all made the Best Of. End of a Century juxtaposes triumphant horns against Damon Albarn's nonchalant vocals, describing how the end of the century is nothing special and life still goes on as normal. To the End gives off a throwback 60s lounge vibe, with sweeping strings above really spacious keys and percussion. It has a bittersweet feeling to it, as the retro instrumentation combines with Albarn's soaring voice, claiming "It looks like we might have made it, made it to the end." The final single released was the penultimate track on the record, This Is a Low. The song is up there with Girls and Boys as one of the band's very best. The song starts off slow and sombre, with gentle acoustic guitar strumming. But as the chorus hits, Albarn's voice raises to a cathartic, emotional swell; before dropping the intensity back for the second verse. The band's alternative rock influences creep in for a noisy, distorted guitar solo and bridge before the final chorus. It remains one of the most personal moments on an album which is generally more focused on the world around it.

The deeper cuts on the record are also a lot of fun. Bank Holiday is a short, brash, punky tune about celebrating bank holidays. Albarn's vocal inflections and unique points of emphasis give the track quite a quirky feel to it. The bouncy guitars and the "oh-oohs" on Tracy Jacks make the song feel weightless and harmlessly fun. Badhead's jangly guitars and kind of self deprecating tone give the track a very Smiths-esque feel, but the horn section which crops up in the chorus make it a distinctly Britpop version of that kind of indie rock. Immediately following Badhead is The Debt Collector, an entirely instrumental, doo-wap interlude. The horns take centre stage and make it feel as if you're now in a fairground. This theme carries over into Far Out, a short wacky tune which sounds like what Albarn would go on to do with Gorillaz (despite the fact it was written and sung by the groups bassist, Alex James).Trouble in the Message Centre has blaring guitars and bubbling synths, and along with all the "ooh"s and "aah"s, it really feels like the song is turning it up to 11 to make a song about going overboard on drink and drugs really feel like it. Clover over Dover turns the intensity back down, and features a really cool guitar hook just after the chorus. Jubilee has a wild, glam rock swagger to it.

My biggest fault with the album is one that can't really be avoided due to the way it has been written and constructed. The fact that the majority of the songs revolve around fictional characters, it lacks a certain kind of intimacy and emotional stakes. It feels like the tracklist could've been assembled in any order, and the fact that a track called To the End is literally at the midpoint shows this well. The fact that the closing track, Lot 105, is basically a silly joke track does kind of irk me. It feels like the band didn't want to leave the listener on the depths of This Is a Low, even though it would make for a great closer. On the whole, this is a small problem, as the tracks are good enough to hold the album, no matter what order they are in. 

Parklife is an incredibly fun and tongue-in-cheek album. It has an upbeat and summery feel to it, like it's the kind of thing I'd throw on during a barbecue. There a so many great songs on here, beyond just the two big singles.

Top Tracks: Girls and Boys, Tracy Jacks, End of a Century, Parklife, Bank Holiday, To the End, Trouble in the Message Centre, Clover Over Dover, Jubilee, This is a Low

8/10

Portishead - "Dummy" (1994)

Portishead's debut album, Dummy, is the record which broke trip hop into the mainstream, winning the Mercury Prize in 1995. I've been really enjoying having it on when I've been working or just chilling out to in the evenings. The band incorporate elements of film noire aesthetics to the standard trip hop fusion of break beats, electronica and jazz to create a smokey and introspective atmosphere unique from many other trip hop acts of the time.

The incredibly low bass and roughly produced drum beats give off a slightly industrial vibe across the record, like some heavy machinery working quietly in the night. Ominous and spooky synths layer on top smothering the mix like a thick fog, with Beth Gibbons' vocals gliding on top with plenty of  breathing room. Her lyrics detail isolation, longing, desire and self reflection.

Despite maintaining a consistent aesthetic across the 11 tracks, each one has unique flourishes which maintains my engagement. Mysterons opens the album with some spooky synths which rise and fall, creating a kind of alien vibe. Sour Times has a low-fi beat with a smooth guitar and bass, while Gibbons' sings the hook "Nobody loves me, it's true, not like you". The film noire feel really comes across in this track, I just get the sense of some dark seedy club. Numb and Wandering Star have the hip hop style scratches which give the tracks a sense of 'bounce'. The beat doesn't come in right away in It's A Fire, leaving Gibbons' vocals alone with organ sounding synths. The chord progression they follow gives a quietly triumphant sound to the song. Roads benefits from an even slower pace than usual trip hop and a simpler mix, allowing Gibbons' incredibly sad vocals to shine through over the vibrato affected chords and guitar. A sax sample breaks out half way through Pedestal, and Strangers has a lot of funky guitar and horns in the mix. The closer, Glory Box is louder than the other tracks with this screeching guitar over the top of the groovy sample of Isaac Hayes' Ike's Rap II. The track even ends with a big drop and breakdown before fading out.

This album is incredibly low key, but that's the point. It has a great late-night atmosphere to wind down and chill out to. It easily works in the background, however has a lot of subtleties which provide an engaging experience when you pay attention to it. The film noire vibe really comes across in the music, giving it a dark and moody edge that some might not like, but I think really adds to the engagement I have with the record.

Top Tracks: Mysterions, Sour Times, Strangers, It Could Be Sweet, It's A Fire, Numb, Roads, Pedestal, Glory Box

9/10