Massive Attack

在Trip-Hop音樂界有一個(gè)鐵三角，即Portishead、Tricky和被公認(rèn)為是Bristol Hip Hop運(yùn)動(dòng)核心的領(lǐng)導(dǎo)人物Massive Attack。到底那是一種什么音樂？Trip-Hop是英倫及歐洲跳舞音樂的一種，因?yàn)樗�發(fā)源自英國(guó)的Bristol,因此最早時(shí)稱作"Bristol Hip-Hop"，它的名字來源是" Trip＋Hip－Hop"，于是便稱其為Trip-Hop。所謂" Trip"，指迷幻味道的，加上Hip-Hop跳舞的音樂形式，成為節(jié)奏稍感輕緩但具有迷幻色彩的音樂形式。所以，Trip-Hop是種慢板的迷幻的、有Jazz感覺的、帶有Hip Hop節(jié)奏的Breakbeat音樂。
Massive Attack的三位成員都頗具個(gè)性:年紀(jì)最長(zhǎng)的Daddy G具有大量的唱片收藏，為樂隊(duì)的音樂創(chuàng)作提供Sample；而3D則是一名頗有些名氣的涂鴉藝術(shù)家，曾經(jīng)展出過自己的畫展，自然負(fù)責(zé)起樂隊(duì)的寫詞和美術(shù)設(shè)計(jì)的工作；Mushroom是最少言寡語的一位，負(fù)責(zé)樂隊(duì)的音樂制作。我倒覺得樂隊(duì)的三位成員同樣是彼此依賴、互不可缺的鐵三角！在音樂的創(chuàng)作上，他們綜合了各個(gè)領(lǐng)域的音樂風(fēng)格及元素，從Punk到Reggae、R&B都無所不能......
The pioneering force behind the rise of trip-hop, Massive Attack were among the most innovative and influential groups of their generation; their hypnotic sound — a darkly sensual and cinematic fusion of hip-hop rhythms, soulful melodies, dub grooves, and choice samples — set the pace for much of the dance music to emerge throughout the 1990s, paving the way for such acclaimed artists as Portishead, Sneaker Pimps, Beth Orton, and Tricky, himself a Massive Attack alumnus. Their history dates back to 1983 and the formation of the Wild Bunch, one of the earliest and most successful sound-system/DJ collectives to arrive on the U.K. music scene; renowned for their seamless integration of a wide range of musical styles, from punk to reggae to R&B, the group's parties quickly became can't-miss events for the Bristol club crowd, and at the peak of their popularity they drew crowds so enormous that the local live music scene essentially ground to a halt.
When the Wild Bunch folded during the mid-'80s, two of its members — Andrew "Mushroom" Vowles and Grant "Daddy G" Marshall — teamed with local graffiti artist 3D (born Robert del Naja) to form Massive Attack in 1987; another Wild Bunch alum, Nellee Hooper, split his time between the new group and his other project, Soul II Soul. The group's first single, "Daydreaming," appeared in 1990; it featured the sultry vocals of singer Shara Nelson and raps by Tricky, another onetime Wild Bunch collaborator. The classic "Unfinished Sympathy" followed, as did another compelling effort, "Safe From Harm." Finally, in 1991 Massive Attack issued their debut LP, Blue Lines; while by no means a huge commercial success, the record was met with major critical praise, and was dubbed an instant classic in many quarters. Nelson, featured on many of the album's most memorable tracks, exited for a solo career soon after, and the group then confusingly changed their name to simply "Massive" to avoid any implication of approval for the U.N.'s policy towards Iraq; in the wake of the disastrous U.S. tour that followed, many were quick to write the band off right then and there.
After a three-year layoff, Massive Attack — their full name now properly reinstated — resurfaced with Protection; again working with Hooper and Tricky, they also brought into the fold vocalist Nicolette, as well as Everything but the Girl's Tracey Thorn. Three singles — "Karmacoma," "Sly," and the title track — were released from the LP, which was also remixed in its entirety by Mad Professor and issued as No Protection. A lengthy tour followed, and over the next several years, Massive Attack's solo work was primarily confined to remixes for artists including Garbage; they also worked with Madonna on a track for a Marvin Gaye tribute album. Finally, to promote their appearance at the annual Glastonbury music festival, the group issued a new EP, Risingson, during the summer of 1997. The third full-length Massive Attack effort, Mezzanine, appeared in mid-1998; in addition to reggae singer Horace Andy, making his third consecutive LP appearance with the group, vocal chores were handled by the Cocteau Twins' Elizabeth Fraser and newcomer Sara Jay. Mezzanine became a cult hit among critics, clubs, and the college crowds, spinning successful singles such as "Teardrop" and "Inertia Creeps." A tour of America and Europe followed, but Vowles left the band after disagreeing with the artistic direction of Mezzanine. Del Naja and Marshall continued as a duo, later working with the likes of David Bowie and the Dandy Warhols, but Marshall later took a leave of absence to raise his family; producer Neil Davidge took up the slack. In February 2003, after a five-year wait, Massive Attack released their fourth album, 100th Window, including collaborations with mainstay Horace Andy as well as Sinéad O'Connor. Danny the Dog from 2004 marked the group's entry into the world of soundtracks.