在Trip-Hop音乐界有一个铁三角，即Portishead、Tricky和被公认为是Bristol Hip Hop运动核心的领导人物Massive Attack。到底那是一种什么音乐？Trip-Hop是英伦及欧洲跳舞音乐的一种，因为它发源自英国的Bristol,因此最早时称作"Bristol Hip-Hop"，它的名字来源是" Trip＋Hip－Hop"，于是便称其为Trip-Hop。所谓" Trip"，指迷幻味道的，加上Hip-Hop跳舞的音樂形式，成为节奏稍感轻缓但具有迷幻色彩的音乐形式。所以，Trip-Hop是种慢板的迷幻的、有Jazz感觉的、带有Hip Hop节奏的Breakbeat音乐。
Massive Attack的三位成员都颇具个性:年纪最长的Daddy G具有大量的唱片收藏，为乐队的音乐创作提供Sample；而3D则是一名颇有些名气的涂鸦艺术家，曾经展出过自己的画展，自然负责起乐队的写词和美术设计的工作；Mushroom是最少言寡语的一位，负责乐队的音乐制作。我倒觉得乐队的三位成员同样是彼此依赖、互不可缺的铁三角！在音乐的创作上，他们综合了各个领域的音乐风格及元素，从Punk到Reggae、R&B都无所不能......
The pioneering force behind the rise of trip-hop, Massive Attack were among the most innovative and influential groups of their generation; their hypnotic sound — a darkly sensual and cinematic fusion of hip-hop rhythms, soulful melodies, dub grooves, and choice samples — set the pace for much of the dance music to emerge throughout the 1990s, paving the way for such acclaimed artists as Portishead, Sneaker Pimps, Beth Orton, and Tricky, himself a Massive Attack alumnus. Their history dates back to 1983 and the formation of the Wild Bunch, one of the earliest and most successful sound-system/DJ collectives to arrive on the U.K. music scene; renowned for their seamless integration of a wide range of musical styles, from punk to reggae to R&B, the group's parties quickly became can't-miss events for the Bristol club crowd, and at the peak of their popularity they drew crowds so enormous that the local live music scene essentially ground to a halt.
When the Wild Bunch folded during the mid-'80s, two of its members — Andrew "Mushroom" Vowles and Grant "Daddy G" Marshall — teamed with local graffiti artist 3D (born Robert del Naja) to form Massive Attack in 1987; another Wild Bunch alum, Nellee Hooper, split his time between the new group and his other project, Soul II Soul. The group's first single, "Daydreaming," appeared in 1990; it featured the sultry vocals of singer Shara Nelson and raps by Tricky, another onetime Wild Bunch collaborator. The classic "Unfinished Sympathy" followed, as did another compelling effort, "Safe From Harm." Finally, in 1991 Massive Attack issued their debut LP, Blue Lines; while by no means a huge commercial success, the record was met with major critical praise, and was dubbed an instant classic in many quarters. Nelson, featured on many of the album's most memorable tracks, exited for a solo career soon after, and the group then confusingly changed their name to simply "Massive" to avoid any implication of approval for the U.N.'s policy towards Iraq; in the wake of the disastrous U.S. tour that followed, many were quick to write the band off right then and there.
After a three-year layoff, Massive Attack — their full name now properly reinstated — resurfaced with Protection; again working with Hooper and Tricky, they also brought into the fold vocalist Nicolette, as well as Everything but the Girl's Tracey Thorn. Three singles — "Karmacoma," "Sly," and the title track — were released from the LP, which was also remixed in its entirety by Mad Professor and issued as No Protection. A lengthy tour followed, and over the next several years, Massive Attack's solo work was primarily confined to remixes for artists including Garbage; they also worked with Madonna on a track for a Marvin Gaye tribute album. Finally, to promote their appearance at the annual Glastonbury music festival, the group issued a new EP, Risingson, during the summer of 1997. The third full-length Massive Attack effort, Mezzanine, appeared in mid-1998; in addition to reggae singer Horace Andy, making his third consecutive LP appearance with the group, vocal chores were handled by the Cocteau Twins' Elizabeth Fraser and newcomer Sara Jay. Mezzanine became a cult hit among critics, clubs, and the college crowds, spinning successful singles such as "Teardrop" and "Inertia Creeps." A tour of America and Europe followed, but Vowles left the band after disagreeing with the artistic direction of Mezzanine. Del Naja and Marshall continued as a duo, later working with the likes of David Bowie and the Dandy Warhols, but Marshall later took a leave of absence to raise his family; producer Neil Davidge took up the slack. In February 2003, after a five-year wait, Massive Attack released their fourth album, 100th Window, including collaborations with mainstay Horace Andy as well as Sinéad O'Connor. Danny the Dog from 2004 marked the group's entry into the world of soundtracks.