Listening to Massive Attackâ€šÃ„Ã´s fourth studio album, â€šÃ„Ãº100th Windowâ€šÃ„Ã¹, is like listening to the soundtrack to someoneâ€šÃ„Ã´s bad dream. And once youâ€šÃ„Ã´ve stepped into a Massive Attack album, itâ€šÃ„Ã´s almost impossible to wake yourself up. This time the Bristol collective have created a study in trip-hop paranoia that leaves you both perplexed and subdued by the end of the disc.The albumâ€šÃ„Ã´s opener, â€šÃ„ÃºFuture Proof,â€šÃ„Ã¹ sounds as if it was lifted from a scene straight out of a David Lynch movie which comes complete with 3-Dâ€šÃ„Ã´s (a.k.a. Robert del Naja) raspy and haunting voice. Horace Andy, a regular on the previous albums, lends his high-pitched ragga crooning to the haunting ballads â€šÃ„ÃºEverywhenâ€šÃ„Ã¹ and â€šÃ„ÃºName Takenâ€šÃ„Ã¹ which seem to drift along way too long for their own good. Horace is a wonderful singer whose voice soars across the bandâ€šÃ„Ã´s complex production, however these two songs do him no justice. So it is up to Sinead Oâ€šÃ„Ã´Connor to balance out the album. Her contributions are the discâ€šÃ„Ã´s standouts (particularly â€šÃ„ÃºA Prayer for Englandâ€šÃ„Ã¹) but the album has a misguided feeling that can’t be shaken. Although 3-Dâ€šÃ„Ã´s production is still unbelievably brilliant, he fails to live up to the level of his previous work.