July 23, 1998
What a perfect title. A mezzanine is a kind of balcony placed at intermediate height in a theatre or building, the perch from which Massive Attack can peer down at all the lesser talents. Their 1991 debut Blue Lines virtually defined trip-hop, and with Mezzanine, they have all but perfected it. This is Massive Attack's best album and one of the year's best releases thus far.
Where Blue Lines was startlingly fresh with its use of hip-hop rhythms, soulful instrumentation and smooth rapping, Massive Attack could easily have gone pop to conquer the world. Instead they have chosen an admirably difficult path - Mezzanine is dark and claustrophobic, dense and hypnotic. The live drumming and careful guitar work has a clean, visceral feel, adding layers of tension to the deep dub paranoia.
Although Mezzanine is bleak, it has an undeniable dark beauty that takes a few listens to reveal. The first listen is all dread and fear, but careful textures and muted grace lurk below. The construction of tension is incredibly sophisticated - listen as the gorgeous harmonies in the chorus of "Risingson" give way to Daddy G's rasping anxiety, or the crushing, building intensity of "Inertia Creeps". Guest vocalist Elisabeth Fraser adds a moment of ineffable elegance to the heartbreaking lament that is "Teardrop". Her poignant phrasing and Horace Andy's plangent vocals add humanity to the mix of slow funk, metal and reggae dub that give Mezzanine its desolate soundscape.
Another thing about a mezzanine - its placement indicates that although Massive Attack stands far above the legions of imitators, they believe they have yet to reach their peak. I can hardly wait.
- Jared O'Connor
Deep dub paranoia