Massive Attack's Unfinished Sympathy in context of PostmodernismSince the late 1970s, certain changes and developments have occurred, which have affected popular music and culture. Digital technology, industrial transformation, historical events and the introduction of MTV have all played roles in the evolution of the creation and consumption of music. The aesthetic that has emerged in this era, shaped by such changes, referred to as postmodernism, comes as a reaction of disillusionment and cynicism to the idealistic arrogance and self-importance of modernism. The postmodern sensibility, as Garth Alper describes, is exemplified in music through “the conspicuous use of genre mixing, irony, humor, and self-parody, and the exploration of the surface characteristics of an artwork”. Alper explains that technology has enabled genre mixing, the juxtaposition between ideas and elements of improbable connections and comparisons, in order to blur, cross or obliterate the boundaries between popular music and “art music”.
In 1992, UK group Massive Attack, “the pioneering force behind the rise of trip-hop” (Ankeny), released their debut album
Blue Lines, which featured the song “Unfinished Sympathy”. This song is today considered “one of the most elegant, sophisticated works in the history of electronic dance” (Bush), and its video is well known, pastiches of which have been created in other music videos. I will attempt to argue that this song and its video is an example of the postmodern sensibility in music as applied by Alper, and in reference to characteristics of postmodern music defined by Jonathan D. Kramer in
Current Musicology.
Most prominently, the song draws from several genres. Trip-hop is itself derivative of hip-hop, a genre that evolved as a response to postmodernity. Elements of hip-hop are evident in the construction of the song, with a drum machine providing an essentially hip-hop rhythm throughout. Distant sounds of scratching are heard throughout the background. Scratching is an exploration of sonic possibilities, as the concept transforms a turntable from its original purpose as a piece of hardware into an instrument. This element shows postmodern consciousness in that it “does not respect boundaries between sonorities and procedures of the past and of the present”, and “considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music” (Kramer). Above this, there is a repeated sample of an African percussion instrument. This inclusion could be perceived as a deliberate recognition of the African origins of hip-hop, placing its cultural and historical signification into the context of technology with the use of sampling.
The song uses a sample taken from John McLaughlin (Prasad), extending the concept of genre mixing, as the source could be categorized as the postmodern genre of jazz fusion, which combines jazz with other genres. The song also draws from jazz in the piano riffs heard throughout, while the vocals, sung by Shara Nelson, are reminiscent of a soul or Motown sentiment.
Such influences from African American styles are coalesced with the European orchestral sounds of strings. It is relevant to note that the artists are from Britain, where culture is closely linked with European traditions. The title of the song, “Unfinished Sympathy”, also suggests a reference to classical works of unfinished symphonies. The fusion of African origins with European shows “the boundaries between popular music and what is commonly considered “art music”” have blurred (Alper), challenging “barriers between “high” and “low” styles”, while it “encompasses pluralism and eclecticism” (Kramer). The contrast between the distant, sombre mood created by the strings and the warm tones in the vocals “embraces contradictions” and “presents multiple meanings” (Kramer).
The chord structure of the song comprises simple repetitive progressions, illustrating postmodern “return to tonality” (Alper). The structure of the song, which “includes fragmentations and discontinuities” created by the collage of samples, “shows disdain for the often unquestioned value of structural unity” (Kramer) and disrupts “the narrative structure of the song” (Alper). The production of the track creates layering of sound, and allows for a feeling of distance between the elements, transforming each of the units and linear patterns into a spatial sense. The multiplicity of layers and textures shows the work as an “exploration of the “surface””, with the appeal and intrigue attributed to internal aspects within the song rather than its overall construction.
While the heartache expressed in the song’s lyrics is by no means unique to the postmodern era, it could be argued that the lyrics display a cynicism and mistrust of modern ideals of love. Cynicism is also displayed in the video to this song. It is set in ghetto streets, and Shara Nelson walks along singing without acknowledging her surroundings of violence and poverty. Not only is this an attempt to illustrate reality, but perhaps also a comment on the apathy of society or the resignation that one is insignificant and cannot make a difference.
The composition and cohesion of all these elements show Massive Attack’s consciousness of the postmodern sensibility. The incorporation of various genres, with reference to their cultural and historical origins, contributes to multiculturalism and “loosens the hegemony” of European music (Alper), while also presenting “multiple temporalities” (Kramer). The use of collage, through technology of sampling, shows “a deliberate attempt to disrupt the narrative structure of a song” (Alper), resisting the formal song structures which were of importance to modernists. Instead, the repetition, disjointedness, juxtapositions and layered constructions emphasise the sonic possibilities. These characteristics, combined with deliberate and artful production, together with the sense of scepticism and disillusionment towards idealism, are a reaction to, as well as an extension of, the modern aesthetic, revealing the present zeitgeist of postmodernism.
Works ConsultedAlper, G. “Making sense out of postmodern music?”
Popular Music and Society 24.4 (2000): 1-14.
Ankeny, J., “Massive Attack: Biography”,
Allmusic.
http://www.allmusic.com/cg/amg.dll?p=amg&searchlink=MASSIVEATTACK&sql=11:4z5tk60x9krf~T1 (24 Aug. 2006).
Bush, J., “Unfinished Sympathy: Song Review”,
Allmusic.
http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:erf4z6g4eh3k (24 Aug. 2006).
Kramer, J. D. “The Nature and Origins of Musical Postmodernism.”
Current Musicology 66 (1999): 7-21.
Prasad, A., “Massive Attack: Massive Aggressive”,
Innerviews 26 Sep. 1998.
http://www.innerviews.org/inner/massive.html (24 Aug. 2006).
DiscographyMassive Attack. “Unfinished Sympathy.”
Blue Lines. Compact disc. Virgin Records, CD86228, 1992.
‘Cancer’
‘Two Thousand’
‘Welcome To the People Tree’
‘Release Yourself Volume 5’
‘Overboard And Down’ EP
‘A Lively Mind’
‘Radio Swan Is Down’
The Rocketsmiths (formerly known as The John Citizens) were the support act last night at the Zoo. A quirky pop band, they made a variety of loud fun sounds that I enjoyed.
‘The Good That’s Been Done… (an anthology)’
‘Housexy Spring 06’
‘Short. Fast. Loud.’
‘Dead Money’