The legendary music scene of Bristol has changed as rapidly as the seasons come and go, with new rhythms being formulated and concocted by bright minds that just seem to thrive off their climate. From past giants Roni Size to current producers like Appleblim, Joker and Gemmy, the scene has never shied away from providing the biggest talent. This can be stemmed back to the late ’80s, when The Wild Bunch was formed, and onward to the ’90s when the group splintered off to become the now-legendary and contextual trip-hop heroes that are Massive Attack. The group has been in a state of supposed creative limbo; since 2003’s 100th Window they had not released a full-length studio album, and while 2006’s Collected compilation had a few new and unreleased tracks, there was much more to be desired. After almost four years of constant rumors, guest artist lineups, and wondering what their return would sound like, Robert “3D” Del Naja and Grant “Daddy G” Marshall have returned with Heligoland, a record that will change the perception of the group’s definitive “trip-hop” sound into something more abstract, stripped-down and soulful.

Spanning a total of ten tracks, Heligoland starts off with “Pray For Rain” with vocals provided by TV On The Radio frontman Tunde Adebimpe, who provides an audible guide to a track that’s spacious as it is ominous. Dark drum patterns, soft rhythm and minor-toned piano provide the background for most of the track, creating a murky picture in between Adebimpe’s words. It’s a glorious start to the record that leads into a contribution by Martina Topley-Bird on the track “Babel,” which is more fast-paced then the opener, and the vocal contribution is notably sultry, sweet and spicy all at once. Topley-Bird gives a warm welcome with each note sung, with a fast-paced mellow toned tune in the back, a ever-catchy drumline and melodic keyboard digging into the meat of the track. Her other contribution, “Psyche” is far more straightforward, with the voice of reason being a lecturer. The following track, “Splitting the Atom” is a welcome return to vocal form for the usual suspects on a Massive Attack record, with contributions from Del Naja and Marshall and reliable stand-by Horace Andy. The dynamic between them is always fresh and enlightening, and on this stylistically different track, the trio shines even more. “Splitting…” may be the most stripped-down track by the group, as its very simple structure of handclaps, synths and keyboard chords are the only thing to counteract the vocals by the trio, and while there’s no dark and foreboding atmosphere like past Massive Attack tracks, the difference suits them well. Andy’s other vocal contribution comes on “Girl I Love You,” a track that provides light between the lines of each note; with a bassline that’s sure to be heard, steady drums, and a horn that will sound peculiar to most, Andy shines the brightest on the tune, with a Middle Eastern vibe peeking its head through the track in between each vocal phrase.

However, not all tracks are about the vocalists, as with “Flat Of The Blade,” with the voice provided by Guy Garvey, shows off the orchestral side of the record, providing a difference that’s between subtle and stark from past tracks, with the atmosphere provided by horns and strings, which are more of a sign of impending doom and not as eerie as past records. The same melancholy shadow shows up on “Paradise Circus,” as Hope Sandoval tells a story over handclaps, questionable piano chords, steady bass tones and sneaky strings. “Rush Minute” has a similar rhythmic feel to “Paradise Circus” but with Del Naja being straightforward between verses surrounded by minimalistic use of piano chords and past basslines that will tickle any fan’s ear, the track provides that wave of melancholy that’s prevalent in most of the record. However, like all Massive Attack albums, there is an uplifting track that transcends the rest, and it rears its head closer to the end of Heligoland experience.

“Saturday Come Slow” is a true show of collaboration, with Damon Albarn providing a stellar, slightly gruff and hopeful vocal to accompany a guitar line provided by a key member of the trip-hop movement in the U.K., Adrian Utley of the iconic Portishead. The two together shine on a track that might be the best of the album. The brilliant and unfortunately too-early track goes into album closer “Atlas Air,” which is a head-bopper to say the least. Del Naja provides a solid vocal over the most steadfast beat on a Massive Attack record in ages. The track evolves into a sort of dance-inspired tune, while not being too fast, the rhythm is enough to start up a floor of people to start moving. As the song reaches the end, we are treated to synthesized glory over the ending rhythm, a more than welcome change of pace from most of the record. While this record may have cast the veil of melancholy over a chunk of its tracks, the noticeable difference should be welcome to fans old and new. With a very spaced-out sound that’s more organic, fluid and emotional, Massive Attack have returned to glory — not as trip-hop legends, but as contributors to an ever-expanding catalogue of immense releases.

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