100th Window - Revision history

Tmothy: /* Personnel */

Tmothy — Mon, 07 Dec 2009 21:22:31 GMT

Personnel

← Older revision		Revision as of 21:22, 7 December 2009
Line 47:		Line 47:
	*Craig Pruess - String conduction		*Craig Pruess - String conduction

-	~~Orchestra arrangement~~ by Craig Pruess, Neil Davidge and Robert "3D" Del Naja	+	Orchestral arrangements by Craig Pruess, Neil Davidge and Robert "3D" Del Naja

Tmothy at 21:21, 7 December 2009

Tmothy — Mon, 07 Dec 2009 21:21:36 GMT

← Older revision		Revision as of 21:21, 7 December 2009
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	== History ==		== History ==

-	Of Massive Attack's original core trio, the album only featured '''[[Robert Del Naja (3D)]]'''; '''[[Andrew Vowles]]''' departed shortly after the release of '''[[Mezzanine]]''', and '''[[Grant Marshall]]''' (Daddy G) was on a sabbatical to raise his young daughter. Released in 2003, it was written and produced by Del Naja and '''[[Neil Davidge]]''', and features the vocals from '''[[Horace Andy]]''' and Sinéad O'Connor, as well as an appearance by '''[[Damon Albarn]]'''. It is the first album by the band that made no use of samples, and contains none of the jazz or fusion stylings of the band's earlier recordings.	+	Of Massive Attack's original core trio, the album only featured '''[[Robert Del Naja (3D)]]'''; '''[[Andrew Vowles]]''' departed shortly after the release of '''[[Mezzanine]]''', and '''[[Grant Marshall]]''' (Daddy G) was on a sabbatical to raise his young daughter. Released in 2003, it was written and produced by Del Naja and '''[[Neil Davidge]]''', and features the vocals from '''[[Horace Andy]]''' and '''Sinéad O'Connor''', as well as an appearance by '''[[Damon Albarn]]'''. It is the first album by the band that made no use of samples, and contains none of the jazz or fusion stylings of the band's earlier recordings.

-	Work on the album started in early 2000~~. Massive Attack~~ recruited Lupine Howl (a band made up of ex-members of Spiritualized) ~~for the new album~~. In a November 2001 interview, Lupine Howl's lead singer Sean Cook described the sessions as "very experimental ... that essentially consisted of kinda minimal loops and noises that were fed to our head phones from the computer up in the control room. Then we would have this sort of extended jam session playing along to them and they would do various things to do the loops. Sometimes they would drop out the loop, sometimes they would start processing it with effects and delays and stuff like that, to try and make it change in various ways and see what that would do in terms of our playing. They also had a strobe light in the live room, which they controlled from the control room. They would kind of put that on and speed it up to dictate the intensity and try to affect the way we played with the lighting. It was a really good laugh; we got some good stuff. I mean, hours and hours of stuff, which they have taken back and cut up and arranged and done their things to."	+	Work on the album started in early 2000, when Del Naja and Davidge recruited '''Lupine Howl''' (a band made up of ex-members of '''Spiritualized''') to record backing tracks. In a November 2001 interview, '''Lupine Howl''''s lead singer Sean Cook described the sessions as "very experimental ... that essentially consisted of kinda minimal loops and noises that were fed to our head phones from the computer up in the control room. Then we would have this sort of extended jam session playing along to them and they would do various things to do the loops. Sometimes they would drop out the loop, sometimes they would start processing it with effects and delays and stuff like that, to try and make it change in various ways and see what that would do in terms of our playing. They also had a strobe light in the live room, which they controlled from the control room. They would kind of put that on and speed it up to dictate the intensity and try to affect the way we played with the lighting. It was a really good laugh; we got some good stuff. I mean, hours and hours of stuff, which they have taken back and cut up and arranged and done their things to."
-	Del Naja wrote in a posting on the Massive Attack forum (17th July 2002) that over the course of time, the band had become "very unhappy with the shapes being formed", and that by the beginning of 2002 they had discarded most of the material that was written up to that point. As a result, Lupine Howl is not credited with any contributions to the final album. However, one song from those sessions, 'Nature of Threat', was later made available for download on Massive Attack's website.	+

-	The title of the album comes from the book "The Hundredth Window: Protecting Your Privacy and Security in the Age of the Internet~~"; this title is an allusion~~ to the idea that one's security is compromised if even one window is left open. In a 2003 interview, Del Naja explained that, "There's always a way in, there's always one thing you'll leave and locks are undone, and something you've forgotten. It's a great analogy to the human psyche and the soul, and the way we're voyeuristic, we like to look at and see everything we can get our hands on, have that power and be able to look at other people and look into thoughts while closing ourselves off and keeping ourselves as private as possible."	+	Del Naja wrote in a posting on the '''Massive Attack''' forum (17th July 2002) that over the course of time, the band had become "very unhappy with the shapes being formed", and that by the beginning of 2002 they had discarded most of the material that was written up to that point. As a result, '''Lupine Howl''' are not credited with any contributions to the final album. However, one song from those sessions, '''''Nature of Threat''''', was later made available for download on Massive Attack's website.
		+
		+	The title of the album comes from the book '''''The Hundredth Window: Protecting Your Privacy and Security in the Age of the Internet''''', alluding to the idea that one's security is compromised if even one window is left open. In a 2003 interview, Del Naja explained that, "There's always a way in, there's always one thing you'll leave and locks are undone, and something you've forgotten. It's a great analogy to the human psyche and the soul, and the way we're voyeuristic, we like to look at and see everything we can get our hands on, have that power and be able to look at other people and look into thoughts while closing ourselves off and keeping ourselves as private as possible."

	==Reception==		==Reception==
	[[File:100thWindow Sleeve.jpg\|400px\|left]]		[[File:100thWindow Sleeve.jpg\|400px\|left]]
-	''100th Window'' received a generally positive, though somewhat muted critical reception, many arguing that whilst Massive Attack's previous three albums had all broken significant new ground for the group, 100th Window's dark, brooding sound was merely a continuation~~, although in some areas, less dark,~~ of '''[[Mezzanine]]'''.	+	'''100th Window''' received a generally positive, though somewhat muted critical reception, many arguing that whilst '''Massive Attack''''s previous three albums had all broken significant new ground for the group, '''100th Window''''s dark, brooding sound was merely a continuation of '''[[Mezzanine]]'''.

-	Initial critical response to '''100th Window''' was positive. At Metacritic, which assigns a rating out of 100 ~~to reviews from mainstream critics~~, the album has received an average score of 75, based on 25 reviews.	+	Initial critical response to '''100th Window''' was positive. At [http://www.metacritic.com/music/artists/massiveattack/100thwindow?q=100th%20window Metacritic], which aggregates reviews from mainstream critics and assigns a rating out of 100, the album has received an average score of 75, based on 25 reviews.

	==Track listing==		==Track listing==
Line 30:		Line 31:
	# "Antistar" (vocals by 3D) – 8:17		# "Antistar" (vocals by 3D) – 8:17
	# "LP4" (instrumental hidden track) – 11:23		# "LP4" (instrumental hidden track) – 11:23
		+

	==Personnel==		==Personnel==
	[[File:100thWindow Glass.jpg\|300px\|right\|thumb\|100th Window photo shoot]]		[[File:100thWindow Glass.jpg\|300px\|right\|thumb\|100th Window photo shoot]]
-	*Robert Del Naja (3D) - vocals and keyboards	+	*[[Robert Del Naja (3D)]] - vocals and keyboards
-	*Neil Davidge - keyboards	+	*[[Neil Davidge]] - keyboards
-	*Horace Andy - Vocals	+	*[[Horace Andy]] - Vocals
	*Sinéad O'Connor - Vocals		*Sinéad O'Connor - Vocals
	*Alex Swift - Additional programming and keyboards		*Alex Swift - Additional programming and keyboards
-	*Angelo Bruschini - Guitars	+	*[[Angelo Bruschini]] - Guitars
	*Jon Harris - Bass		*Jon Harris - Bass
-	*Damon Reece - Drums	+	*[[Damon Reece]] - Drums
	*Stuart Gordon - Violin		*Stuart Gordon - Violin
	*Skaila Hanka - Harp		*Skaila Hanka - Harp

Tmothy at 15:41, 13 October 2009

Tmothy — Tue, 13 Oct 2009 15:41:53 GMT

← Older revision		Revision as of 15:41, 13 October 2009
Line 4:		Line 4:
	== History ==		== History ==

-	Of Massive Attack's original core trio, the album only featured '''[[Robert Del Naja (3D)]]'''; '''[[Andrew Vowles]]''' departed shortly after the release of '[[Mezzanine]]', and '''[[Grant Marshall]]''' (Daddy G) was on a sabbatical to raise his young daughter. Released in 2003, it was written and produced by Del Naja and '''[[Neil Davidge]]''', and features the vocals from '''[[Horace Andy]]''' and Sinéad O'Connor, as well as an appearance by '''[[Damon Albarn]]'''. It is the first album by the band that made no use of samples, and contains none of the jazz or fusion stylings of the band's earlier recordings.	+	Of Massive Attack's original core trio, the album only featured '''[[Robert Del Naja (3D)]]'''; '''[[Andrew Vowles]]''' departed shortly after the release of '''[[Mezzanine]]''', and '''[[Grant Marshall]]''' (Daddy G) was on a sabbatical to raise his young daughter. Released in 2003, it was written and produced by Del Naja and '''[[Neil Davidge]]''', and features the vocals from '''[[Horace Andy]]''' and Sinéad O'Connor, as well as an appearance by '''[[Damon Albarn]]'''. It is the first album by the band that made no use of samples, and contains none of the jazz or fusion stylings of the band's earlier recordings.

	Work on the album started in early 2000. Massive Attack recruited Lupine Howl (a band made up of ex-members of Spiritualized) for the new album. In a November 2001 interview, Lupine Howl's lead singer Sean Cook described the sessions as "very experimental ... that essentially consisted of kinda minimal loops and noises that were fed to our head phones from the computer up in the control room. Then we would have this sort of extended jam session playing along to them and they would do various things to do the loops. Sometimes they would drop out the loop, sometimes they would start processing it with effects and delays and stuff like that, to try and make it change in various ways and see what that would do in terms of our playing. They also had a strobe light in the live room, which they controlled from the control room. They would kind of put that on and speed it up to dictate the intensity and try to affect the way we played with the lighting. It was a really good laugh; we got some good stuff. I mean, hours and hours of stuff, which they have taken back and cut up and arranged and done their things to."		Work on the album started in early 2000. Massive Attack recruited Lupine Howl (a band made up of ex-members of Spiritualized) for the new album. In a November 2001 interview, Lupine Howl's lead singer Sean Cook described the sessions as "very experimental ... that essentially consisted of kinda minimal loops and noises that were fed to our head phones from the computer up in the control room. Then we would have this sort of extended jam session playing along to them and they would do various things to do the loops. Sometimes they would drop out the loop, sometimes they would start processing it with effects and delays and stuff like that, to try and make it change in various ways and see what that would do in terms of our playing. They also had a strobe light in the live room, which they controlled from the control room. They would kind of put that on and speed it up to dictate the intensity and try to affect the way we played with the lighting. It was a really good laugh; we got some good stuff. I mean, hours and hours of stuff, which they have taken back and cut up and arranged and done their things to."

Tmothy at 15:40, 13 October 2009

Tmothy — Tue, 13 Oct 2009 15:40:23 GMT

← Older revision		Revision as of 15:40, 13 October 2009
Line 1:		Line 1:
	[[File:100th Window LP Massive Attack.jpg\|300px\|thumb\|right\|100th Window]]		[[File:100th Window LP Massive Attack.jpg\|300px\|thumb\|right\|100th Window]]
-	'''''100th Window''''' is the fourth album by [[Massive Attack]].	+	'''''100th Window''''' is the fourth album by '''[[Massive Attack]]'''.

	== History ==		== History ==

-	Of Massive Attack's original core trio, the album only featured [[Robert Del Naja (3D)]]; [[Andrew Vowles]] departed shortly after the release of '[[Mezzanine]]', and [[Grant Marshall]] (Daddy G) was on a sabbatical to raise his young daughter. Released in 2003, it was written and produced by Del Naja and [[Neil Davidge]], and features the vocals from [[Horace Andy]] and [[Sinéad O'Connor]], as well as an appearance by [[Damon Albarn]]. It is the first album by the band that made no use of samples, and contains none of the jazz or fusion stylings of the band's earlier recordings.	+	Of Massive Attack's original core trio, the album only featured '''[[Robert Del Naja (3D)]]'''; '''[[Andrew Vowles]]''' departed shortly after the release of '[[Mezzanine]]', and '''[[Grant Marshall]]''' (Daddy G) was on a sabbatical to raise his young daughter. Released in 2003, it was written and produced by Del Naja and '''[[Neil Davidge]]''', and features the vocals from '''[[Horace Andy]]''' and Sinéad O'Connor, as well as an appearance by '''[[Damon Albarn]]'''. It is the first album by the band that made no use of samples, and contains none of the jazz or fusion stylings of the band's earlier recordings.

	Work on the album started in early 2000. Massive Attack recruited Lupine Howl (a band made up of ex-members of Spiritualized) for the new album. In a November 2001 interview, Lupine Howl's lead singer Sean Cook described the sessions as "very experimental ... that essentially consisted of kinda minimal loops and noises that were fed to our head phones from the computer up in the control room. Then we would have this sort of extended jam session playing along to them and they would do various things to do the loops. Sometimes they would drop out the loop, sometimes they would start processing it with effects and delays and stuff like that, to try and make it change in various ways and see what that would do in terms of our playing. They also had a strobe light in the live room, which they controlled from the control room. They would kind of put that on and speed it up to dictate the intensity and try to affect the way we played with the lighting. It was a really good laugh; we got some good stuff. I mean, hours and hours of stuff, which they have taken back and cut up and arranged and done their things to."		Work on the album started in early 2000. Massive Attack recruited Lupine Howl (a band made up of ex-members of Spiritualized) for the new album. In a November 2001 interview, Lupine Howl's lead singer Sean Cook described the sessions as "very experimental ... that essentially consisted of kinda minimal loops and noises that were fed to our head phones from the computer up in the control room. Then we would have this sort of extended jam session playing along to them and they would do various things to do the loops. Sometimes they would drop out the loop, sometimes they would start processing it with effects and delays and stuff like that, to try and make it change in various ways and see what that would do in terms of our playing. They also had a strobe light in the live room, which they controlled from the control room. They would kind of put that on and speed it up to dictate the intensity and try to affect the way we played with the lighting. It was a really good laugh; we got some good stuff. I mean, hours and hours of stuff, which they have taken back and cut up and arranged and done their things to."
Line 13:		Line 13:
	==Reception==		==Reception==
	[[File:100thWindow Sleeve.jpg\|400px\|left]]		[[File:100thWindow Sleeve.jpg\|400px\|left]]
-	''100th Window'' received a generally positive, though somewhat muted critical reception, many arguing that whilst Massive Attack's previous three albums had all broken significant new ground for the group, 100th Window's dark, brooding sound was merely a continuation, although in some areas, less dark, of '[[Mezzanine]]'.	+	''100th Window'' received a generally positive, though somewhat muted critical reception, many arguing that whilst Massive Attack's previous three albums had all broken significant new ground for the group, 100th Window's dark, brooding sound was merely a continuation, although in some areas, less dark, of '''[[Mezzanine]]'''.

-	Initial critical response to ''100th Window'' was positive. At Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the album has received an average score of 75, based on 25 reviews.	+	Initial critical response to '''100th Window''' was positive. At Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the album has received an average score of 75, based on 25 reviews.

	==Track listing==		==Track listing==
Line 23:		Line 23:
	# "What Your Soul Sings" (vocals by Sinéad O'Connor) – 6:37		# "What Your Soul Sings" (vocals by Sinéad O'Connor) – 6:37
	# "Everywhen" (vocals by Horace Andy) – 7:37		# "Everywhen" (vocals by Horace Andy) – 7:37
-	# "[[Special Cases]]" (vocals by Sinéad O'Connor) – 5:09	+	# "Special Cases" (vocals by Sinéad O'Connor) – 5:09
-	# "[[Butterfly Caught]]" (vocals by 3D) – 7:33	+	# "Butterfly Caught" (vocals by 3D) – 7:33
	# "A Prayer for England" (vocals by Sinéad O'Connor) – 5:44		# "A Prayer for England" (vocals by Sinéad O'Connor) – 5:44
-	# "Small Time Shot Away" (vocals by 3D, backing vocals by 2D ([[Damon Albarn]]) – 7:57	+	# "Small Time Shot Away" (vocals by 3D, backing vocals by 2D (Damon Albarn) – 7:57
	# "Name Taken" (vocals by Horace Andy) – 7:47		# "Name Taken" (vocals by Horace Andy) – 7:47
	# "Antistar" (vocals by 3D) – 8:17		# "Antistar" (vocals by 3D) – 8:17
Line 32:		Line 32:

	==Personnel==		==Personnel==
-	[[File:100thWindow Glass.jpg\|~~350px~~\|right\|thumb\|100th Window photo shoot]]	+	[[File:100thWindow Glass.jpg\|300px\|right\|thumb\|100th Window photo shoot]]
-	*[[Robert Del Naja (3D)]] - vocals and keyboards	+	*Robert Del Naja (3D) - vocals and keyboards
	*Neil Davidge - keyboards		*Neil Davidge - keyboards
-	*[[Horace Andy]] - Vocals	+	*Horace Andy - Vocals
-	*[[Sinéad O'Connor]] - Vocals	+	*Sinéad O'Connor - Vocals
	*Alex Swift - Additional programming and keyboards		*Alex Swift - Additional programming and keyboards
	*Angelo Bruschini - Guitars		*Angelo Bruschini - Guitars

Tmothy: /* Personnel */

Tmothy — Tue, 13 Oct 2009 15:37:31 GMT

Personnel

← Older revision		Revision as of 15:37, 13 October 2009
Line 32:		Line 32:

	==Personnel==		==Personnel==
-		+	[[File:100thWindow Glass.jpg\|350px\|right\|thumb\|100th Window photo shoot]]
	*[[Robert Del Naja (3D)]] - vocals and keyboards		*[[Robert Del Naja (3D)]] - vocals and keyboards
	*Neil Davidge - keyboards		*Neil Davidge - keyboards

Tim: /* Reception */

Tim — Sat, 19 Sep 2009 20:36:39 GMT

Reception

← Older revision		Revision as of 20:36, 19 September 2009
Line 11:		Line 11:
	The title of the album comes from the book "The Hundredth Window: Protecting Your Privacy and Security in the Age of the Internet"; this title is an allusion to the idea that one's security is compromised if even one window is left open. In a 2003 interview, Del Naja explained that, "There's always a way in, there's always one thing you'll leave and locks are undone, and something you've forgotten. It's a great analogy to the human psyche and the soul, and the way we're voyeuristic, we like to look at and see everything we can get our hands on, have that power and be able to look at other people and look into thoughts while closing ourselves off and keeping ourselves as private as possible."		The title of the album comes from the book "The Hundredth Window: Protecting Your Privacy and Security in the Age of the Internet"; this title is an allusion to the idea that one's security is compromised if even one window is left open. In a 2003 interview, Del Naja explained that, "There's always a way in, there's always one thing you'll leave and locks are undone, and something you've forgotten. It's a great analogy to the human psyche and the soul, and the way we're voyeuristic, we like to look at and see everything we can get our hands on, have that power and be able to look at other people and look into thoughts while closing ourselves off and keeping ourselves as private as possible."

-	==Reception==	+	==Reception==
		+	[[File:100thWindow Sleeve.jpg\|400px\|left]]
	''100th Window'' received a generally positive, though somewhat muted critical reception, many arguing that whilst Massive Attack's previous three albums had all broken significant new ground for the group, 100th Window's dark, brooding sound was merely a continuation, although in some areas, less dark, of '[[Mezzanine]]'.		''100th Window'' received a generally positive, though somewhat muted critical reception, many arguing that whilst Massive Attack's previous three albums had all broken significant new ground for the group, 100th Window's dark, brooding sound was merely a continuation, although in some areas, less dark, of '[[Mezzanine]]'.

Tmothy at 17:18, 10 September 2009

Tmothy — Thu, 10 Sep 2009 17:18:13 GMT

← Older revision		Revision as of 17:18, 10 September 2009
Line 1:		Line 1:
	[[File:100th Window LP Massive Attack.jpg\|300px\|thumb\|right\|100th Window]]		[[File:100th Window LP Massive Attack.jpg\|300px\|thumb\|right\|100th Window]]
-	'''''100th Window''''' is the fourth by [[Massive Attack]].	+	'''''100th Window''''' is the fourth album by [[Massive Attack]].

	== History ==		== History ==

Tmothy at 16:14, 10 September 2009

Tmothy — Thu, 10 Sep 2009 16:14:41 GMT

← Older revision		Revision as of 16:14, 10 September 2009
Line 17:		Line 17:

	==Track listing==		==Track listing==
-	All tracks written by Robert ~~"3D"~~ Del Naja and Neil Davidge except tracks 2, 4 & 6 written by Del Naja/Davidge/O'Connor	+	All tracks written by Robert Del Naja and Neil Davidge except tracks 2, 4 & 6 written by Del Naja/Davidge/O'Connor

	# "Future Proof" (vocals by 3D) – 5:37		# "Future Proof" (vocals by 3D) – 5:37

Tmothy at 16:13, 10 September 2009

Tmothy — Thu, 10 Sep 2009 16:13:55 GMT

← Older revision		Revision as of 16:13, 10 September 2009
Line 25:		Line 25:
	# "[[Butterfly Caught]]" (vocals by 3D) – 7:33		# "[[Butterfly Caught]]" (vocals by 3D) – 7:33
	# "A Prayer for England" (vocals by Sinéad O'Connor) – 5:44		# "A Prayer for England" (vocals by Sinéad O'Connor) – 5:44
-	# "Small Time Shot Away" (vocals by 3D, backing vocals by [[2D ~~(Gorillaz)\|2D]]~~ ([[Damon Albarn]]) – 7:57	+	# "Small Time Shot Away" (vocals by 3D, backing vocals by 2D ([[Damon Albarn]]) – 7:57
	# "Name Taken" (vocals by Horace Andy) – 7:47		# "Name Taken" (vocals by Horace Andy) – 7:47
	# "Antistar" (vocals by 3D) – 8:17		# "Antistar" (vocals by 3D) – 8:17
-	# "LP4" (instrumental [[hidden track]]) – 11:23	+	# "LP4" (instrumental hidden track) – 11:23

	==Personnel==		==Personnel==

Tmothy at 16:13, 10 September 2009

Tmothy — Thu, 10 Sep 2009 16:13:20 GMT

← Older revision		Revision as of 16:13, 10 September 2009
Line 1:		Line 1:
	[[File:100th Window LP Massive Attack.jpg\|300px\|thumb\|right\|100th Window]]		[[File:100th Window LP Massive Attack.jpg\|300px\|thumb\|right\|100th Window]]
-	'''''100th Window''''' is the fourth ~~[[studio album]] from the [[Bristol]]-based [[trip hop\|trip-hop]] group~~ [[Massive Attack]].	+	'''''100th Window''''' is the fourth by [[Massive Attack]].

	== History ==		== History ==

-	Of Massive Attack's original core trio, the album only featured [[Robert Del Naja]] ~~&ndash~~; [[Andrew Vowles]] departed shortly after the release of ''[[~~Mezzanine (album)\|~~Mezzanine]]'', and [[~~Daddy G\|~~Grant Marshall]] was on a sabbatical to raise his young daughter. Released in 2003, it was written and produced by Del Naja and [[Neil Davidge]], and features the vocals from [[Horace Andy]] and [[Sinéad O'Connor]], as well as an appearance by [[Damon Albarn]]. It is the first album by the band that made no use of samples, and contains none of the jazz or fusion stylings of the band's earlier recordings.	+	Of Massive Attack's original core trio, the album only featured [[Robert Del Naja (3D)]]; [[Andrew Vowles]] departed shortly after the release of '[[Mezzanine]]', and [[Grant Marshall]] (Daddy G) was on a sabbatical to raise his young daughter. Released in 2003, it was written and produced by Del Naja and [[Neil Davidge]], and features the vocals from [[Horace Andy]] and [[Sinéad O'Connor]], as well as an appearance by [[Damon Albarn]]. It is the first album by the band that made no use of samples, and contains none of the jazz or fusion stylings of the band's earlier recordings.

-	Work on the album started in early 2000. Massive Attack recruited [[Lupine Howl]] (a band made up of ex-members of [[Spiritualized]]) for the new album. In a November 2001 interview, Lupine Howl's lead singer Sean Cook described the sessions as "very experimental ... that essentially consisted of kinda minimal loops and noises that were fed to our head phones from the computer up in the control room. Then we would have this sort of extended jam session playing along to them and they would do various things to do the loops. Sometimes they would drop out the loop, sometimes they would start processing it with effects and delays and stuff like that, to try and make it change in various ways and see what that would do in terms of our playing. They also had a strobe light in the live room, which they controlled from the control room. They would kind of put that on and speed it up to dictate the intensity and try to affect the way we played with the lighting. It was a really good laugh; we got some good stuff. I mean, hours and hours of stuff, which they have taken back and cut up and arranged and done their things to."~~<ref>{{cite web~~	+	Work on the album started in early 2000. Massive Attack recruited Lupine Howl (a band made up of ex-members of Spiritualized) for the new album. In a November 2001 interview, Lupine Howl's lead singer Sean Cook described the sessions as "very experimental ... that essentially consisted of kinda minimal loops and noises that were fed to our head phones from the computer up in the control room. Then we would have this sort of extended jam session playing along to them and they would do various things to do the loops. Sometimes they would drop out the loop, sometimes they would start processing it with effects and delays and stuff like that, to try and make it change in various ways and see what that would do in terms of our playing. They also had a strobe light in the live room, which they controlled from the control room. They would kind of put that on and speed it up to dictate the intensity and try to affect the way we played with the lighting. It was a really good laugh; we got some good stuff. I mean, hours and hours of stuff, which they have taken back and cut up and arranged and done their things to."
-	~~\|url=http://www.undertheradarmag.com/issue2/LupineHowl/lupine_602.html~~	+	Del Naja wrote in a posting on the Massive Attack forum (17th July 2002) that over the course of time, the band had become "very unhappy with the shapes being formed", and that by the beginning of 2002 they had discarded most of the material that was written up to that point. As a result, Lupine Howl is not credited with any contributions to the final album. However, one song from those sessions, 'Nature of Threat', was later made available for download on Massive Attack's website.
-	~~\|title=Under the Radar - Lupine Howl~~	+
-	~~\|author=Mark Redfern~~	+
-	~~\|month=June \| year=2002~~	+
-	~~\|accessdate=2006-11-15~~	+
-	~~}}</ref>~~ Del Naja wrote in a ~~[[17 July]] [[2002]]~~ posting to Massive Attack~~'s forums~~ that over the course of time, the band had become "very unhappy with the shapes being formed", and that by the beginning of 2002 they had discarded most of the material that was written up to that point. As a result, Lupine Howl is not credited with any contributions to the final album. However, one song from those sessions, "Nature of Threat", was later made available for download on Massive Attack's website.	+

-	The title of the album comes from the book "The Hundredth Window: Protecting Your Privacy and Security in the Age of the Internet"; this title is an allusion to the idea that one's security is compromised if even one window is left open. In a 2003 interview, Del Naja explained that, "There's always a way in, there's always one thing you'll leave and locks are undone, and something you've forgotten. It's a great analogy to the human psyche and the soul, and the way we're voyeuristic, we like to look at and see everything we can get our hands on, have that power and be able to look at other people and look into thoughts while closing ourselves off and keeping ourselves as private as possible."~~<ref>{{cite web~~	+	The title of the album comes from the book "The Hundredth Window: Protecting Your Privacy and Security in the Age of the Internet"; this title is an allusion to the idea that one's security is compromised if even one window is left open. In a 2003 interview, Del Naja explained that, "There's always a way in, there's always one thing you'll leave and locks are undone, and something you've forgotten. It's a great analogy to the human psyche and the soul, and the way we're voyeuristic, we like to look at and see everything we can get our hands on, have that power and be able to look at other people and look into thoughts while closing ourselves off and keeping ourselves as private as possible."
-	~~\|url=http://www.harikunzru.com/hari/massiveattack.htm~~	+
-	~~\|title=Hari Kunzru Massive Attack~~	+
-	~~\|year=2003~~	+
-	~~\|accessdate=2006-10-04~~	+
-	~~}}</ref>~~	+

	==Reception==		==Reception==
-	''100th Window'' received a generally positive, though somewhat muted critical reception, many arguing that whilst Massive Attack's previous three albums had all broken significant new ground for the group, ''100th Window'~~'<nowiki>'</nowiki>~~s dark, brooding sound was merely a continuation, although in some areas, less dark, of ''Mezzanine''.~~{{Fact\|date=April 2007}}~~	+	''100th Window'' received a generally positive, though somewhat muted critical reception, many arguing that whilst Massive Attack's previous three albums had all broken significant new ground for the group, 100th Window's dark, brooding sound was merely a continuation, although in some areas, less dark, of '[[Mezzanine]]'.

-	Initial critical response to ''100th Window'' was positive. At [[Metacritic]], which assigns a ~~[[Standard score\|normalized]]~~ rating out of 100 to reviews from mainstream critics, the album has received an ~~[[weighted mean\|~~average]] score of 75, based on 25 reviews.<ref name="metacritic">{{cite web \| url=http://www.metacritic.com/music/artists/massiveattack/100thwindow \| title=Massive Attack:100th Window (2003): Reviews \| work=[[Metacritic]] \| publisher=CNET Networks, Inc \| accessdate=2009-04-02 }}</ref>	+	Initial critical response to ''100th Window'' was positive. At Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the album has received an average score of 75, based on 25 reviews.

	==Track listing==		==Track listing==
Line 42:		Line 32:
	==Personnel==		==Personnel==

-	*[[Robert Del Naja~~\|Robert "~~3D~~" Del Naja~~]] - vocals and keyboards	+	*[[Robert Del Naja (3D)]] - vocals and keyboards
	*Neil Davidge - keyboards		*Neil Davidge - keyboards
	*[[Horace Andy]] - Vocals		*[[Horace Andy]] - Vocals