ALLMUSIC.COM
Anyone who remembers trumpeter Toshinori Kondo's work with such thorny avant-gardists as John Zorn, Derek Bailey, Fred Frith, and Peter Brotzmann's Die Like a Dog Quartet may be a bit taken aback by the extreme accessibility of his collaboration with pioneering turntablist DJ Krush. Much of the music on Ki-Oku flirts with smooth-groove jazz — Kondo's muted trumpet line on "Mu-Getsu" sounds an awful lot like something Chris Botti would play, while the duo's instrumental take on the Bob Marley classic "Sun Is Shining" comes off just a little bit muzak-y. On the other hand, "Ki-Gen" and "Ko-Ku" both find Kondo using synthesized treatments in a way that evokes Jon Hassell's work with Brian Eno, while on the latter DJ Krush layers slightly menacing keyboard washes beneath Kondo's unassuming trumpet lines. This is one of those albums that reveals more with repeated listens; if it sounds too easy at first, listen again — there's lots of interesting stuff going on beneath what sometimes sounds like a merely pleasant surface.
Amazon.com
Pairing DJ Krush, known throughout the beat underground for his subdued, trippy soundscapes, with Japanese avant trumpeter Toshinori Kondo may seem an odd pairing. This record, however, is instantly knowable and intuitively easy to grasp. Krush's beats, while certainly up-front, don't come at the price of the composition, nor do they blast Kondo's trumpet out of the tune. DJ Krush is not only able to drive the direction and tempo, but he's also quite adept at creating mood--often mixing up somber, downtempo collages that glide with an underwater grace. His uptempo work is direct, solidly propelled by someone who knows how to handle bass and breaks. Thankfully, the canvasses Krush mixes up are large enough to include Kondo's color work. The trumpeter (who's worked with the likes of Herbie Hancock and John Zorn) takes full advantage of the opportunity. Kondo is a breathy, richly toned player, and his meshings add to the dreamy, psychedelic feel of the recording. He's effective whether he's drifting beside Krush's swirling dub coiled in a haze of effects or punctuating beats with pure blasts of horn fire. A hip-bop classic. --S. Duda
From Jazziz
Willfully dry and barely funky, this album runs the risk of embracing the double-edged racist stereotype that haunts Japanese musicians working in heavily African American-based styles: polite Asians too intellectual for gritty black music. Thankfully, enough contrary evidence exists on Kondo and Krush's other recordings to dispel this myth elsewhere (and anyone dim enough to think black music isn't cerebral needs a lot more help than a CD review can give). Krush often gets labeled jazzy by critics out of laziness as much as for his easy tempos and willingness to float the occasional horn sample through his atmospheric mixes. Really, he specializes in manipulating thick swashes of sculpted ambient sound over loping, deliberate beats. On his well-conceived hip-hop albums, instrumentals alternate with appearances by guest rappers and vocalists to excellent and varied effect. Kondo, a veteran of collaborations with Peter Brötzmann, Derek Bailey, and Herbie Hancock, deploys none of the expected avant-garde pyrotechnics here, beyond an occasional slight sharpness in tone. Clichéd, smooth-jazz trumpet musings, smothered in echo, are the disappointing fare instead - when someone says an unimaginative trumpet player has a Miles-like sense of phrasing, this is the sort of effort to which they're referring. Still, it's hardly an unpleasant album. A few bright points are the use of Middle Eastern melody and Krush's innovative, spare turntable work. Because it seems interested in little beyond simple mood-setting, ultimately it remains ineffectual and inconsequential.
--- Patrick Hughes, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.

Japanese only pressing from the drum'n'bass/trip hop master DJ Krush. Released in tandem with ''Stepping Stones-Lyricism'', Soundscapes features 13 instrumental tracks. Sony 2006 release.

Japanese only pressing from the drum'n'bass/trip hop master DJ Krush. Released in tandem with ''Stepping Stones-Soundscapes'', ''Lyricism'' features 13 tracks and features vocals by Company Flow, Black Thought, Esthero, Aesop Rock, Zap Mama, Mos Def and more. . Sony 2006 release.

Reissue of 1999 album includes three bonus tracks, 'Les Nuits' (DJ Spinna Mix), 'Finer' (Paul Nice Mix), & 'Burn Me Slo' (feat. O.C). Warp. 2003.

2002 release and there are even more vocal delights to be had this time out, from the reggae tinged observational sociology of '70s to 80s' to sassy diva bounce of the first single, 'Know My Name'. Limited edition comes in deluxe packaging with a bonus instrumental retrospective mix CD featuring one track 'The Journey' clocking in at over 39 minutes.

Massive Attack在创作第四张专辑《100th Window》的这段时间，音乐创作理念的分歧，导致Mushroom最终的退出，由于家庭原因Daddy G也暂时的离开，乐队的核心成员只剩下三分之一：3D (Robert del Naja)，与制作人Neil Davidge（曾参与《Mezzanine》制作）合作完成。但这决不是一张让人失望的作品，专辑延续了之前低沉黑暗的制作，盘旋的bassline，刻画细腻的节拍鼓点，新客座歌手Sinead O´Connor的加入则是专辑的亮点所在：或许不如Liz Fraser和Tracey Thorn那样与MA的音乐产生强烈的化学变化，但在"A Prayer for England"这首颇具政治控诉性的歌曲中，却更凸显她独特的声音魅力，正如Massive Attack这个名字本身也暗含对军事扩张的反讽。另一首"What Your Soul Sings"无疑是MA几首最经典的作品之一，Sinead的声音在一阵尖涩的氛围噪音中蔓延而出，缓缓的绽放出炫目的光泽。

Collected is a compilation album by British trip hop collective Massive Attack, released on 27 March 2006. The album was preceded by the release of the single "Live with Me" on 13 March. It collects most of the band's singles up until this point.