Massive Attack – Blue Lines

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Blue Lines is unlucky. It couldn’t rely on the huge influence it had for lasting critical acclaim. Everyone talks about how outdated this is and they’re right. Pretty much any work of Trip-Hop that came after this pushes the genre way more forward. You don’t have to look too far. Just listen to some Tricky, Portishead and UNKLE and you’ll find artists with a wider vision, a more diverse palette of influence and more conceptual depth. Their concepts are also so different that they hold Blue Lines back from being outdated.

Trip-Hop has a lot in common with other 90’s genres such as Gangsta Rap, Nu-Metal and Industrial Rock. It’s full of darkness, sexuality and general pessimism. The approach may be more artistic, but the negative moods remain the same. Blue Lines is the opposite. Instead of drawing abandoned and heartless landscapes, it’s enjoying life.

In truth, you shouldn’t compare it to other works in the genre. Even the influence have different filters. Massive draw from the smoother side of Hip-Hop and from the pleasant, easy side of Soul. ‘Easy Listening’ describes best the album. The breaks are slow, but funky and still hard. The rapping is so laid-back there are no rhymes to follow. Barring the oddly aggressive “Safe From Harm”, the singers sing about the virtues of love and being thankful.

Many artists have tried to make an album like Blue Lines. A lot of rappers made this type of ‘smooth rap’, but no one does it like Massive Attack. Unlike rappers who focus primarily on impressing you with rhymes (that are boring anyway), Massive Attack put more emphasis on mood. “Blue Lines” is better than anything by A Tribe Called Quest because of how precise it is in getting the atmosphere right. The break is rolling with a perfect balance between banging and not being too loud. The hushed rapping fits with the vibes. They’re not out to impress you. They’re chilling with you to the beat.

Maybe what people mean when they say the album is ‘outdated’ is because of how unambitious it is. The unassuming title-track makes it obvious. Unlike later producers who made huge statements with their albums, Massive Attack are trying to create good vibes here. Nothing here sounds revolutionary, like a new sound that inspired a lot of people. “One Love” is just a reggea song with more a Hip-Hop beat. “Unfinished Sympathy” is what happens when a Soul singer meets some Hip-Hop producer.

Yet this unassuming, unambitious nature doesn’t ruin the album’s quality. It’s only unambitious because its aim is to create nothing good vibes. The album is perfect when you hang out with a few friends not doing anything big, or when the party is at its end and most people have gone home. The atmosphere is still social and danceable, but slower and content rather than happy. It’s shocking to think this was released so early. This album was available for everyone, and smooth rappers couldn’t imitate it?

Blue Lines is an oddity in the Trip-Hop genre. It’s out of place in the canon because of how different then approach is. It may not be as deep as Mezzanine or far-reaching as Psyence Fiction, but there are few albums like it. Sure, there’s a lot of smooth Jazz and smooth Soul and smooth Rap. Massive Attack combines all these for an album that perfects the calm and social atmosphere. Forget about genres. It’s such a pleasant album that I can’t imagine anyone not finding something to like here.

3.5 blue lines out of 5

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