Massive Attack have helped define the ‘Bristol Sound’ since 1988. Emerging from the city’s underground club scene, blending elements of sound system culture with hip-hop, electronic music, jazz, funk, dub and reggae, the trio has gone on to sell tens of millions of studio albums worldwide, alongside countless compilations, remixes, soundtracks, and EPs – but what are the best Massive Attack tracks to test your hi-fi system?
An evolution of The Wild Bunch, a collective of musicians, DJs and MCs active on the Bristol scene since 1982, Massive Attack’s founding line-up comprised Robert ‘3D’ Del Naja (maybe Banksy, probably not), Grant ‘Daddy G’ Marshall (graffiti prowess unknown), Andrew ‘Tricky’ Thaws (yes, from The Fifth Element), and Andrew ‘Mushroom’ Vowels (DJ cameo in Neneh Cherry’s Buffalo Stance video).
From the breakthrough debut album Blue Lines to a recent collection of collaborative EPs, their list of guest artists includes everyone from reggae legend Horace Andy and The Cocteau Twins’ Elizabeth Fraser to Mazzy Star’s Hope Sandoval, Mos Def, Roots Manuva, Sinead O’Connor, Damon Albarn, Ghostpoet and more.
Mind-blowing live, with a visual show that can redefine expectations, it’s in the studio where the countless obscure samples, intricate layering, decadent orchestral scores, brooding baselines, atmospheric production and impactful lyrics come together. To that end, this is a British band – up there with the likes of Pink Floyd and Radiohead –where a great sound system and headphones can unpack the complexities of their back catalogue.
So, where to start? Here are 13 of the best Massive Attack tracks to test your hi-fi, including everything from album essentials to B-sides, rare remixes and movie soundtracks. Love is a doing word… so is listening. Off we go.
Safe From Harm [12” Version] (1991, Blue Lines)
The scene-setting opener from debut album Blue Lines, Safe From Harm is dominated by a dangerously good bass-driven sample borrowed from jazz fusionist Billy Cobham’s Stratus. Shara Nelson’s soulful vocals juxtapose perfectly with 3D’s eerie bars, painting a picture of urban paranoia.
Showcasing Massive Attack’s early genre-defining sound, mixing hip-hop breaks, dub basslines and atmospheric synths, listen carefully and you’ll pull out further samples from Good Old Music by Funkadelic and Herbie Hancock’s Chameleon. Safe From Harm captures the melting pot of early ’90s Britain perfectly, while opting for the 12” version extends the midnight rocking groove, emphasising its instrumental layers.
This track is a dynamic-range system stress test. The deep, rolling bassline demands subwoofer precision, while Nelson’s vocals reveal midrange clarity. Crisp hi-hats and synth swells expose treble accuracy. The spacious mix, with subtle reverb and stereo panning, challenges imaging – details like the shaker or guitar stabs should float distinctly. Any muddiness in the low-end or harshness in vocals signals system flaws.
Five Man Army (1991, Blue Lines)
The Wild Bunch was a foundational crew for the burgeoning ‘Bristol Sound’ scene. Five Man Army transports you back to the heady days of their legendary nights at the city’s Dug Out club. Movie buffs among you will spot a Western link here, too – The Wild Bunch and The Five Man Army being 1969 motion picture releases.
The track holds the distinction of featuring vocals by 3D, Daddy G, Tricky, Horace Andy, and The Wild Bunch’s Claude ‘Willy Wee’ Williams. Featuring a sample from Al Green’s I’m Glad You’re Mine and Tricky reciting lyrics from The Specials’ Blank Expression, prepare yourself for a dark, dub-infused track with a hypnotic bassline alongside nods to reggae and soul.
A lo-fi aesthetic and sparse arrangement will test your system’s transparency. The deep, dubby bassline requires tight low-end control to avoid bloat. Vocal textures –gruff, whispered, or melodic – demand midrange nuance, revealing distortion or colouration. Percussion, like the crisp snare and tambourine, checks treble detail. The wide stereo field, with panning effects and faint samples, evaluates imaging precision. A good system makes the hazy atmosphere tangible, immersing you in its smoky grip. Kick back to this one… preferably with a Sony Boodo Khan Walkman around your neck.
Karmacoma (1994, Protection)
This sultry, disorienting gem, complete with music video inspired by The Shining and directed by The Zone Of Interest’s Jonathan Glazer, features mumbled raps, Indian rhythms, and dub over a languid beat.
Stick with the familiar original version for the infectious Nusrat Fateh Ali Khan loop, but we'll give a notable shout-out for the Portishead Experience remix – the only time the two custodians of Bristol music culture have collaborated in the studio, and containing a sample of En Melody by Serge Gainsbourg.
The layered production of Karmacoma is a hi-fi gauntlet. Sub-bass pulses test low-frequency depth, where sloppy systems will blur the kick drum’s thump. Tricky and 3D’s vocals, drenched in reverb, probe midrange resolution; overlapping textures should stay distinct. The sitar-like drones and sharp hi-hats demand treble finesse, while stereo effects, like panned percussion, reveal imaging accuracy. A great system unveils the track’s humid, immersive soundscape, balancing warmth and clarity effortlessly.
Sly (1994, Protection)
Produced by Nellee Hooper, Sly blends ethereal vocals with jazzy chords, a muted trumpet, and a crescendo of epic cinematic strings. The track’s nocturnal vibe contrasts with the rawness of Blue Lines, showcasing the band’s refined sound in 1994. If anything, lyrics from Nigerian-born singer-songwriter, Nicolette, pertaining to the cynical nature of modern life and desire to step away, feel more relevant than ever. Shifting from whispers to soaring notes adds emotional depth, making it a standout track capturing Protection’s polished yet moody aesthetic.
Sly is awash with lush dynamics and a sense of finesse. The warm, rounded bassline demands low-end control where loose systems will muddy the groove. Nicolette’s vocals probe midrange clarity, while the trumpet and strings, floating in a wide soundstage, check treble sparkle and imaging. Reverb tails and subtle percussion reveal decay accuracy. A great system will render the track’s intimate, cinematic atmosphere with clarity and depth.
I Want You (1995, Inner City Blues: The Music of Marvin Gaye /Something to Remember, Collected)
Rumour has it former Massive Attack member Mushroom wanted Madonna to sing vocals on 1998’s Teardrop, even sending her a demo before being outvoted 2:1 in favour of Elizabeth Fraser by 3D and Daddy G. He left the band not long after.
A couple of years previously, Mushroom and co worked with Madge on a cover of Marvin Gaye’s 1976 classic I Want You. The track holds the distinction of featuring on three albums – Madonna’s Something To Remember, a star-studded tribute to Gaye’s music, and eventually Massive Attack’s 2006 ‘best of’ compilation, Collected. Side note: Chaka Khan had been lined up for vocals but reportedly failed to show for recording sessions.
A sultry reimagining, with layered moody synths, a slow-burning bassline, and lush strings, Madonna’s breathy vocals blend seamlessly with the band’s atmospheric touch, creating a sensual vibe that nods to Gaye’s soul while embracing Bristol’s downtempo sound.
I Want You is a masterclass in production depth and dynamic range. Its brooding bassline puts any system’s low-end control to the test. Madonna’s multi-tracked vocals demand midrange precision where any harshness or veil robs the track of its emotional core. Ethereal strings and sharply defined percussion sweep across the highs, probing treble extension and finesse. With rich stereo imaging and subtle spatial effects, the mix opens into a wide, immersive soundstage. On a revealing system, the track unfolds with intimate warmth and balance – taut bass, liquid mids, and shimmering highs.
Radiation Ruling The Nation (1995, No Protection)
Massive Attack turning down the chance to remix Radiohead’s OK Computer will always be one of British music’s great ‘what if’ moments, but a couple of years earlier, their album Protection got the rework treatment from dub royalty, Mad Professor. No Protection, complete with comic-strip cover by Stephen Bliss (responsible for the Grand Theft Auto video game series artwork), is a hypnotic masterpiece that arguably improves on its source material.
Radiation Ruling The Nation reworks the title track from Protection. Featuring Tracey Thorn’s familiar vocals, it amplifies Massive Attack’s reggae roots with deep, pulsating bass, reverb-soaked effects, and skanking rhythms. Mad Professor’s edits create a slow, immersive soundscape, stripping back elements to emphasise the beat and dub’s signature fade-ins.
Leaning heavily into a dub-soaked vibe, Thorn’s stripped-back vocals then hang in the mix and can get lost if your mids aren’t clear. Rimshots crack through with sharpness, and the reverb trails stretch wide, checking how clean your treble and stereo imaging are. A good system makes this track feel massive but controlled – thick bass, crisp highs, and that enveloping, smoky atmosphere that pulls you right in. A track so good, it gets a namecheck from John Cusack’s character in the film High Fidelity.
Angel (1998, Mezzanine)
The opener to Mezzanine, Angel, redefined Massive Attack’s sound with its brooding, cinematic intensity. Featuring Horace Andy’s plaintive vocals, it builds from a creeping bassline into a towering crescendo. Its claustrophobic mix and raw guitar textures mark a darker, more abrasive evolution.
Angel is a beast. The seismic bass intro demands subwoofer power and control – weak systems will crumble under its weight. Andy’s fragile vocals test the midrange against the dense mix; distortion here is unforgivable. The cymbal crashes and guitar stabs probe treble precision, while the wide, reverberant soundstage evaluates imaging. Capturing the track’s emotional arc, from gradual beginning to overwhelming crescendo, is the trick here, and a major reason it’s a regular What Hi-Fi? test track. To add visual impact to the visceral, see the arcade and caravan fire scenes from the Guy Ritchie film, Snatch.
Inertia Creeps (1998, Mezzanine)
Said to be the last track Mushroom worked on with 3D before his departure, Inertia Creeps is a mainstay on Massive Attack’s live setlists for good reason. It’s a menacing, Eastern-tinged personal account of one of 3D’s real-life relationships that had run its course, with his lyrics slithering over a pulsing rhythm.
Inspired by Turkish music, it layers skittering percussion, droning synths, and a relentless bassline. Its paranoid vibe and intricate production marked a high point of Massive Attack’s experimental phase. Side note: an early version written by Massive Attack and given to the Manic Street Preachers to be sung by Richey Edwards goes back as far as 1994. We’ve tried everywhere to find the recording with no luck.
Inertia Creeps is brilliant for putting your hi-fi or headphones through their paces. The deep, pulsing bassline rewards systems with solid low-end control, keeping the groove tight and powerful. 3D’s layered vocals, floating through the mix, shine on set-ups with good midrange clarity, bringing out the track’s intimacy. Crisp, metallic percussion and eerie synths reveal how well your system handles treble detail. Listen for swirling effects moving precisely around the soundstage, and allow the track’s full atmosphere to come alive. In a word, captivating.
Dissolved Girl (1998, Mezzanine)
Another Mezzanine standout, Dissolved Girl features Sarah Jay Hawley’s craving, desirous vocals over a sludgy, trip-hop groove. It blends distorted guitars, booming bass and pulsing synths, with a dystopian edge. Its cinematic quality – later featured in The Matrix – reflects Massive Attack’s ability to create emotive, textured soundscapes.
A dense mix to test any system’s cohesion, Dissolved Girl hums and rumbles towards its metalgaze summit, before slowly descending. What a journey. Hawley’s ethereal vocals, buried in reverb, probe the midrange, complemented by gritty guitars, panned synths, and sharp hi-hats. How a track can be so delicate in parts and unyielding in others is a testament to the mastery MA managed to capture throughout Mezzanine.
I Against I (2002, Blade II: The Soundtrack, Collected)
A track to watch out for when Massive Attack and Yasiin Bey (formerly Mos Def) play London’s LIDO festival this summer, I Against I pairs Bristol production with the Brooklyn-born rapper’s fiery vocals.
Originally found on the Blade II movie soundtrack, it’s a gritty, electronic-driven sound system banger with brooding atmospherics befitting a comic-book vampire flick. Skittering beats, distorted bass, and synths create a sense of tension as Bey’s rapid delivery cuts through the fog. I challenge anyone not to summon their inner Wesley Snipes when Bey goes full patois with the line: “Bad man never fret the war, tell ‘em come. General, we have the stock, the mad fire burn.”
I Against I is a thrilling test track for any well-tuned system. The driving bassline sets a powerful foundation, perfect for revealing tight low-end control and depth. Bey’s commanding vocal delivery offers ample opportunity to hear how well your set-up handles complex layering. Crisp hi-hats and stinging electronic stabs will check treble precision. A capable system transforms the track’s intensity into an electrifying experience, balancing raw energy with sonic detail.
Antistar (2003, 100th Window)
A Robert Del Naja solo album in everything but name, 100th Window is officially credited as Massive Attack’s fourth studio album and, for the most part, sounds like nothing else in their discography.
Antistar opens with 3D enquiring, “Can you lick my wounds, please?” setting the scene with a slightly sinister blend of electronics with Middle Eastern orchestral effects. Meditative yet unsettling in equal measure, a 50-piece orchestra was used to record each string as individual tracks to capture the desired sound. This is made all the crazier by dropping them on top of a fairly rudimentary breakbeat rhythm from a Korg Electribe drum machine… plus 3D reportedly hitting a Coke can with a stick.
The track is an evolving structure inspired by the novel Greek Love by Katherine Dunn, as an analogy for the cult of celebrity. Nice and laid back, then. Be aware of too much thump, as you’ll lose subtle details hidden in the mix. The vocals and ambient synths float in and out, so find that sweet spot in the middle frequencies – any fuzziness and the track’s smoothness slips away. The sharp percussion and high-end bursts will challenge your system’s ability to hit the highs just right, while wide, shifting stereo pans tests sound placement. It’s all about capturing the track’s pulse and slow burn. It can suffocate you, this one. Get it right and you’ll be glued to your seat. Get it wrong, and you’ll be heading for the nearest exit.
Psyche (Flash Treatment) (2010, Splitting the Atom EP)
Psyche (Flash Treatment) is a remix of the Heligoland album track, featuring Martina Topley-Bird’s distinctive vocals, which eventually became the version played live. Intelligently reimagined by Swedish producer Christoff Berg, it strips the original to a skeletal, dubby pulse with glitchy electronics and eerie ambience. It reflects Massive Attack’s ongoing love for letting others rework their material – after all, “Show without showing, what you know without knowing.”
Psyche (Flash Treatment) doesn’t announce itself – it creeps slow and steady. The low end is deep but restrained and needs to be tightly controlled. Vocals sit close and exposed; too much sharpness or haze strips away their impact. High-frequency details – soft hits, distant echoes – need to stay crisp without cutting through harshly. The mix moves, constantly shifting elements from side to side. A good system will make that movement feel natural, not forced. Played right, the track builds tension without ever getting loud, drawing you into its atmosphere.
Paradise Circus (2010, Heligoland)
Another regular What Hi-Fi? test track, Paradise Circus features the sultry vocals of Mazzy Star’s Hope Sandoval over a delicate, looping piano and subtle bass. Essentially a Daddy G joint from the point of conception, its sensual yet melancholic tone tempered with a lush string section climax will be familiar to millions as the theme tune from BBC drama Luther.
Paradise Circus has a dynamic range to showcase high-fidelity audio. The bass is understated but crucial, with low-end control revealing the piano – on systems with excess boom, the details get lost. Sandoval’s breathy vocals sit where too much sibilance can ruin their intimacy. The strings and sharp snare drum bring out the treble, while elements like the hi-hat should be clearly defined. A high-quality system or headphones will bring the emotional depth of Paradise Circus to life, leaving you craving an iPlayer boxset binge with Idris Elba for company.
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