Massive Attack, a band known for their deliberate and measured pace, has seen a significant decline in their music releases in recent years. While they have remained in the public eye, it has largely been due to their political activism rather than their musical endeavors. Notably, frontman Robert Del Naja was among the 500 individuals detained during a protest organized by Palestine Action last Saturday. It has been six years since they shared new music, which consisted of three YouTube videos where their sound served as a backdrop for spoken-word presentations addressing global systemic change. The last commercially available single, titled “The Spoils,” was released a decade ago. Their latest album, “Heligoland,” debuted in 2010, a time when Taylor Swift was still primarily a country artist, Harry Styles was still in school, and platforms like Instagram and TikTok had yet to emerge.
As a result, any new release from the band is met with heightened anticipation, especially for those who recall the profound impact Massive Attack had on the music scene in the 1990s. One could argue that their debut album, “Blue Lines,” stands as one of the most pivotal British albums of its time, giving rise to the trip-hop genre. Even 35 years later, its influence can be heard across various musical styles, from the mainstream pop of Billie Eilish and Lana Del Rey to the nu-soul sounds of Joy Crookes and Greentea Peng, not to mention the countless streams of anonymous “lo-fi beats” on platforms like Spotify.
It is important to note, however, that Massive Attack’s current sound diverges significantly from that of “Blue Lines.” Since the late 1990s, their music has evolved into darker, more abstract, and unsettling territories, drawing more from post-punk experimentalism rather than hip-hop or soul, particularly when Del Naja is at the helm of the creative process.
The latest track, “Boots on the Ground,” exemplifies this evolution. Accompanied by visuals from documentary photographer known as thefinaleye on Instagram, showcasing scenes from Black Lives Matter protests, police interactions, ICE raids, and homeless veterans, the track spans seven minutes. The first half is dominated by a haunting introduction and conclusion featuring the labored breathing of guest vocalist Tom Waits, evoking a sense of exhaustion and desperation. A jarring moment of silence five minutes in creates the illusion that the song has ended.
Waits’ involvement in “Boots on the Ground” highlights Massive Attack’s ability to collaborate with renowned artists. From the start of their career, they have treated guest vocalists not merely as stars making brief appearances, but as integral collaborators. This was evident with Tracey Thorn on the 1994 track “Protection” and Elizabeth Fraser on the 1998 hit “Teardrop,” and it remains true in this latest release.
Although Waits recorded his vocals several years ago, he reflects on the song with his characteristic dark humor, stating, “Today, as in all of mankind’s yesterdays, guarantees this song will never go out of style.” His distinctive voice permeates the track, which features a more streamlined beat than his recent work, yet retains an awkward rhythm and a hint of chaotic clatter reminiscent of his solo projects. Underneath, a somber piano melody drifts through, interspersed with military snares and indistinct choral vocals. The lyrics, delivered from the perspective of a brutish and violent figure of authority, oscillate between surrealism and distressing imagery, such as, “I killed a brown man… he choked on his spit and his face turned blue… he died right here, I got the pearl from his snout.”
It is evident that this composition will not overshadow the beloved classics of Massive Attack—like “Teardrop,” “Safe from Harm,” and “Unfinished Sympathy”—in the hearts of fans. Instead, it presents a dark, unsettling, and thought-provoking experience that resonates perfectly with the current state of the world.
