Photography courtesy of EMI

Everything about Massive Attack feels contradictory. The core members, Robert “3D” Del Naja and Grant “Daddy G” Marshall, are polar opposites. The former: diminutive, fair, pointy, reserved yet articulate. The latter: oversized, dark, rounded, affable yet hesitant. Not since the collective’s second album, 1994’s Protection, have these two made music in the same room.
    Starting as a reggae sound system collective, the Wild Bunch, they represented an array of cultures, backgrounds, ethnicities, and traditions. This array drove the collective and gave birth to Massive Attack and the inimitable flavor it had — and has. “We were literally white straight through to black,” says Marshall amidst babysitting his three children in his Bristol, England, home as he placates them with a DVD of Up. “We spread from Italian culture through Spanish roots to Black culture. Coming from all walks of life, it was funny to have us all in one group.”
    What has been heard since Protection — on albums like Mezzanine (1998), 100th Window (2003), and their latest Heglioland — is the individual members working on their own, then bringing their ideas to each other, ready for a face-off. More often than not, it is Del Naja’s vision that bullies itself to the forefront. On 100th Window — which should have been billed as Del Naja’s solo album — there was no input from Marshall, and erstwhile third member, Andrew “Mushroom” Vowles, who had since departed.