MASSIVE ATTACK RESEARCH
Massive Attack are a English, 'trip hop', (a musical genre said to be a mix of hip-hop and electronica). This experimental type group were formed in Bristol in 1988; consisting of the members Robert Del Naja, Grant Marshall and now past member, Andy Vowles.
They signed to Circa Records in 1990, delivering five studio albums:
'Blue Lines' was their debut studio album, released on their Wild Bunch label through Virgin Records on 8 April 1991. It consists of nine tracks: 'Safe From Harm', 'One Love', 'Blue Lines', 'Be Thankful for What You’ve Got', 'Five Man Army', 'Unfinished Sympathy', 'Daydreaming', 'Lately' and 'Hymn of the Big Wheel'; four of them singles. This album reached 13th in the UK's album chart; with the album being remastered on the 19th November 2012, continuing on its popularity. The band relies heavily, for this album, on the singer Horace Andy, soul singers Tony Bryan and Shara Nelson, and Bristol rapper Adrian “Tricky” Thaws for the vocal work. The themes explored throughout 'Blue Lines' are not surprising due to the biographies of its artists, all of whom are the children of recent British immigrants and nearly all of whom are black.
E.g. 'Unfinished Sympathy'
Their song 'Unfinished Sympathy' was released as the second single from the album 'Blue Lines', on 11th February 1991.
In the video the theme of poverty is primarily explored, showcased through the extremely simple music video and the further ideas shown within it. The narrative that is presented includes one main character only - a women, walking down the street, singing directly to the camera. This is shown throughout the entirety of the music video, as one continuous, tracking shot is used. Again, this helps to further the theme of poverty and simplistic ideas.
The audience could infer from this that the artist/director is trying to make an ironic statement aimed at wealth. As, for a successful band, like Massive Attack they would be able to afford to create a complex music video for a hit song, like 'Unfinished Sympathy'. This could include multiple different sets and scenarios, with well known characters featuring also. Though this music video is the polar opposite, as the director has made sure it used minimal techniques. As well as this, the setting and the characters shown all give connotations of poverty and struggle.
The music video is set in a typical American, urban area. Even though the women is the focus of the camera shot, the audience is still able to understand the scene behind her as the wide angle helps to contain as much of the background scene as possible. The audience can see different people, all dressed typically of the era, going about their ordinary life; many shown working and selling on the street. This idea of the 'street life' is depicted from the off-set. As the camera pans out from a man with, a stereotypically violent breed of dog, wearing a studded collar. The shot then widens to show more men all wearing similar style clothes, leather jackets and white vests, for example. The audience hence depicts that they are representing a gang; helped by the use of stereotypes surrounding the setting and the people involved.
Nearing the end of the music video, the camera angle moves, still maintaining the continuous tracking shot. For the entirety of the video, the shot had been facing the women, moving backwards in front of her walking; as if she was walking after the perspective of the camera shot. Though near the end the camera shot pans around to the side of her, allowing he to become in front of the cameras point-of-view. For the audience, this could imply that she had been chasing an aim for most of her life, (most of the music video), though has now overcome it. This, again, could be referring to the hunt for wealth and money which many are on; or that the wealthy depict of those not so well-off to be on the hunt.
Bailie Walsh - video director
Street culture
'post-punk'
They signed to Circa Records in 1990, delivering five studio albums:
- 'Blue Lines', 1991
- 'Protection', 1994
- 'Mezzanine', 1998
- '100th Window, 2003
- 'Heligoland', 2010
'Blue Lines' was their debut studio album, released on their Wild Bunch label through Virgin Records on 8 April 1991. It consists of nine tracks: 'Safe From Harm', 'One Love', 'Blue Lines', 'Be Thankful for What You’ve Got', 'Five Man Army', 'Unfinished Sympathy', 'Daydreaming', 'Lately' and 'Hymn of the Big Wheel'; four of them singles. This album reached 13th in the UK's album chart; with the album being remastered on the 19th November 2012, continuing on its popularity. The band relies heavily, for this album, on the singer Horace Andy, soul singers Tony Bryan and Shara Nelson, and Bristol rapper Adrian “Tricky” Thaws for the vocal work. The themes explored throughout 'Blue Lines' are not surprising due to the biographies of its artists, all of whom are the children of recent British immigrants and nearly all of whom are black.
As a mainstream band, their career was majorly launched and recognised in the 1990's when they began to be nominated for awards; as well as beginning to win the titles. For example, winning awards for best video, best album and best British dance act.
E.g. 'Unfinished Sympathy'
Their song 'Unfinished Sympathy' was released as the second single from the album 'Blue Lines', on 11th February 1991.
The audience could infer from this that the artist/director is trying to make an ironic statement aimed at wealth. As, for a successful band, like Massive Attack they would be able to afford to create a complex music video for a hit song, like 'Unfinished Sympathy'. This could include multiple different sets and scenarios, with well known characters featuring also. Though this music video is the polar opposite, as the director has made sure it used minimal techniques. As well as this, the setting and the characters shown all give connotations of poverty and struggle.
The music video is set in a typical American, urban area. Even though the women is the focus of the camera shot, the audience is still able to understand the scene behind her as the wide angle helps to contain as much of the background scene as possible. The audience can see different people, all dressed typically of the era, going about their ordinary life; many shown working and selling on the street. This idea of the 'street life' is depicted from the off-set. As the camera pans out from a man with, a stereotypically violent breed of dog, wearing a studded collar. The shot then widens to show more men all wearing similar style clothes, leather jackets and white vests, for example. The audience hence depicts that they are representing a gang; helped by the use of stereotypes surrounding the setting and the people involved.
Nearing the end of the music video, the camera angle moves, still maintaining the continuous tracking shot. For the entirety of the video, the shot had been facing the women, moving backwards in front of her walking; as if she was walking after the perspective of the camera shot. Though near the end the camera shot pans around to the side of her, allowing he to become in front of the cameras point-of-view. For the audience, this could imply that she had been chasing an aim for most of her life, (most of the music video), though has now overcome it. This, again, could be referring to the hunt for wealth and money which many are on; or that the wealthy depict of those not so well-off to be on the hunt.
Bailie Walsh - video director
- British music video and film director
- as well as directing videos for Massive Attack, he has also worked with Boy George, Kylie Minogue and Oasis
Street culture
'post-punk'
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