フォーマット |
LPレコード |
---|---|
構成数 |
2 |
国内/輸入 |
輸入 |
パッケージ仕様 |
- |
発売日 |
2018年05月01日 |
---|---|
規格品番 |
5700974 |
レーベル |
|
SKU |
602557009743 |
構成数 | 2枚
合計収録時間 | 00:00:00
Until 2003's 100th Window, each Massive Attack album had been a discrete record, stylistically distinct and mostly unconnected to what had gone before it (even if it included the same vocalists). By sounding like an inferior copy of the 1998 landmark Mezzanine, 100th Window broke a string and led to negative reviews. Heligoland marks a return to departures. The sound of Massive Attack circa 2010 has some similarities to what the group has done in the past, but overall, this represents a radical shift in music-making. Granted, most of the Massive Attack hallmarks are still here: gripping music laden with tension and dread, a production that sounds fathoms deep, and an insular worldview represented by a cast of vocalists both new and old. (The new voices include Damon Albarn, Hope Sandoval, Elbow's Guy Garvey, and TV on the Radio's Tunde Adebimpe.) What's immediately apparent, however, from the opener "Pray for Rain" is the sparseness and understated air on display here. With Adebimpe on vocals, the track begins with a rattling of bones and a resigned air whose closest predecessor is "In a Lonely Place" by New Order (a group who practically defined the word understated with their music prior to 1982). This certainly isn't the Massive Attack that floated the smoothest British house of the early '90s, and more surprisingly, it's also not the Massive Attack that created dense, immersive trip-hop during the '90s and early 2000s. At times, it's clear that Robert Del Naja and Neil Davidge's work on soundtracks during the 2000s has adversely affected their main project, resulting in music that skirts the background as often as not. Heligoland often sounds like a soundtrack, most likely the score to some dystopic thriller such as Children of Men or 28 Days Later. The album also isn't as experimental as the music Massive Attack made in the past. Unlike Portishead's Third, a classic comeback from their fellow Bristolians, it also lacks the balance of experimentation and emotion (the latter especially has often been a weakness in Massive Attack's output compared to their peers). True, Horace Andy and Hope Sandoval front some impressive productions, and Damon Albarn's "Saturday Come Slow" is one of his best post-Blur features (including Gorillaz), but overall Heligoland lacks the majesty and might of classic Massive Attack. ~ John Bush
エディション | Remaster
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1.[LPレコード]【A面】
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1.Pray For Rain
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2.Babel
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【B面】
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1.Splitting The Atom
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2.Girl I Love You
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3.Psyche
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2.[LPレコード]【A面】
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1.Flat Of The Blade
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2.Paradise Circus
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3.Rush Minute
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レビュー-
ブリストル低音世界の重鎮が帰ってきた。実質的に3Dのソロだった前作『100th Window』には内省的で不穏な空気な充満していたが、本作ではダディGが復帰して、同時にユニットとしての〈らしさ〉も戻ってきたかな、と。重さをキープしながらも圧迫感を全体に敷き詰めることはなく、選び抜かれた音の配置が絶妙なため、その隙間さえも気持ち良く響いてくるのだ。ゲスト陣の配置も実に効果的で、ベース&キーボードで参加したデーモン・アルバーンやティム・ゴールドワージー(DFA)とのコラボは特に聴きモノ。毎度お馴染みホレス・アンディの声も聴けて一安心だし、ホープ・サンドヴァル(マジー・スター)のヴォーカルもハマってますわ。まさに面目躍如の一撃、というか久々に彼らの音に感動できた!
bounce (C)池田謙司タワーレコード (vol.318(2010年2月25日発行号)掲載)
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