The Synthetic Sound: Trip Hop (Part II)

Trip Hop, also called the Bristol Sound, is now an internationally recognized genre of electronic music; however, it wasn't always as widely known as it is today. In fact, the genre had much humbler beginnings than most other musical styles, and the sleepy city of Bristol is hardly the kind of environment that coins its own sound. The, ahem, less-than-professional documentary above attempts to answer the questions "Why Bristol?" and "Why this sound?" The DJs in the film provide interesting, underground insights to the music movement that changed the world's perception of electronic music forever. (Interestingly, one of the MCs recounts how his songs became darker as soon as he arrived in Bristol. He believes that the environment absolutely influenced his art in unforseen ways.) There are more scholarly articles on the Bristol Sound and the Bristol underground, but it's always interesting to have an up-front, immediate perspective on the culture and the real people who sustain it.

The Synthetic Sound: MASSIVE ATTACK.

Appendix C: Members.

Before Massive Attack, the three founding members were part of a five-person Wild Bunch Crew. Wild Bunch also fostered Tricky and Grammy-winning producer Nellee Hooper.

Mushroom (Andrew Vowels) - Although Mushroom was a founding member of Massive Attack, his creative differences from 3D and Daddy G led him to leave the group shortly before the release of Mezzanine in 1998. He was a proponent of taking Trip-Hop in a distinctly hip-hop direction and likened touring to "pimping."

Daddy G (Grantley Marshall) - A founding/existing member of Massive Attack and a DJ who has been produced as part of the DJ-Kicks mix series. "Daddy G" comes from a 1960's American song by the Dovells called "The Bristol Stomp." The song actually refers to Bristol, PA, but Grantley Marshall took the name "Daddy G" and established it within the realm of the Bristol Sound, AKA Trip-Hop.

3D (Robert del Naja) - A graffiti artist and MC, 3D is a powerful creative influence in Massive Attack (and a source of much creative unhappiness for his collaborators). As Massive Attack has aged, 3D has assumed a directorial position; many fans and reviewers claim that 100th Window was solo project for 3D. The album got mixed reviews. His breathy vocals and dark electronic riffs are said to typify the Bristol sound (which I will expound on later, since this is a sociogeographical examination of Trip-Hop). He also happens to be the most open with his political views, opposing the Bush Administration vocally and playing concerts to benefit Katrina victims.

In terms of his graffiti...the great Banksy has cited 3D as a major influence.

The Synthetic Sound: MASSIVE ATTACK.

Appendix B: Famous Songs. They are Numerous.

Karmacoma featuring Tricky. This song is a perfect example of the bizarre hip-hop hybrid that coined the use of the term "Trip Hop." At the very beginning of the band's career, the public had trouble categorizing them, but ultimately the vocals and regular beats of (a few of) their songs allowed critics to draw a bridge between electronica and American hip-hop/early rap.

Teardrop has remained perennially on the Itunes Top 100 (always lingering at number 20 or thereabouts.)As you can see, the (rather odd) video has attracted over six million views. The vocalist, Liz Fraser, is a fairly frequent guest on Massive Attack tracks. Although Portishead set the precedent for unusual female vocals in Trip Hop, Massive Attack also has its fair share of crooning sirens on their tracks. "Teardrop" made Liz Fraser's voice almost as iconic as Beth Gibbons'. However, as a rule, Massive Attack tends towards breathy or intensely soulful male vocals.


"Inertia Creeps" is a perfect example of the aforementioned breathy male vocals. Here, the singer is Massive Attack member MC Robert del Naja; he is heavily featured in Massive Attack's Collected Rarities because his songs are unique to the point of extremity. He also sang the iconic Butterfly Caught. "Inertia Creeps" also illustrates the inherent complexity in Massive Attack's often simplistic lyrics. Although the singer seems to be talking about how boredom and idleness overtake you when you least expect it, he personifies this sensibility quite sexually; we then have to ask ourselves whether inertia is a woman he knows or whether, ominously, he is losing his ability to take action.

Angel featuring Horace Andy is one of Massive Attack's most ambient/least dissonant songs. It has been featured in multiple movies and TV shows, but nothing of particular interest. (Horace Andy is the reggae singer who declared Trip-Hop to be the "new world music.")


"Live with Me" is THE example of Massive Attack's soulfulness. Enough said.

Of course, we should all know the original version of "Dissolved Girl," just because it showed up in The Matrix. Ten points to anyone who provides a viable philosophical interpretation of the Wachowski brothers' use of the song:

The Synthetic Sound: MASSIVE ATTACK.

Appendix A: Proof that you KNOW Massive Attack even if you currently believe that you've never heard them in your life.


The first scene of the first Matrix movie. Although the Massive Attack is very subtle, the song "Dissolved Girl" is playing in Neo's headphones as articles flash across his screen.


Further evidence of Massive Attack's immortality: they've collaborated with David Bowie. The track "Nature Boy" was slightly altered to open and close Baz Luhrmann's 2001 movie release Moulin Rouge! (The original can be heard here.)


If you have a song in The Matrix, then it follows that you must have a song in one of the Blade movies. "I Against I," Massive Attack's collaboration with Mos Def, appeared in Blade 2.