Nate Patrin at Pitchfork: “Trip-hop” eventually became a ’90s punchline, a music-press shorthand for “overhyped hotel lounge music.” But today, the much-maligned subgenre almost feels like a secret precedent. Listen to any of the canonical Bristol-scene albums of the mid-late ’90s, when the genre was starting to chafe against its boundaries, and you’d think the claustrophobic, anxious 21st century started a few years ahead of schedule. Looked at from the right angle, trip-hop is part of an unbroken chain that runs from the abrasion of ’80s post-punk to the ruminative pop-R&B-dance fusion of the moment.

The best of it has aged far more gracefully (and forcefully) than anything recorded in the waning days of the record industry’s pre-filesharing monomania has any right to. Tricky rebelled against being attached at the hip to a scene he was already looking to shed and decamped for Jamaica to record a more aggressive, bristling-energy mutation of his style in ’96; the name Pre-Millennium Tension is the only obvious thing that tells you it’s two decades old rather than two weeks. And Portishead’s ’97 self-titled saw the stress-fractured voice of Beth Gibbons envisioning romance as codependent, mutually assured destruction while Geoff Barrow sunk into his RZA-noir beats like The Conversation’s Gene Hackman ruminating over his surveillance tapes. This was raw-nerved music, too single-minded and intense to carry an obvious timestamp.

But Massive Attack were the origin point of the trip-hop movement they and their peers were striving to escape the orbit of, and they nearly tore themselves to shreds in the process. Instead— or maybe as a result—they laid down their going-nova genre's definitive paranoia statement with Mezzanine. The band's third album (not counting the Mad Professor-remixed No Protection) completes the last in a sort of de facto Bristol trilogy, where Tricky’s youthful iconoclasm and Portishead’s deep-focus emotional intensity set the scene for Massive Attack’s sense of near-suffocating dread. The album corroded their tendencies to make big-wheel hymnals of interconnected lives where hope and despair trade precedent—on Mezzanine, it’s alienation all the way down. There’s no safety from harm here, nothing you’ve got to be thankful for, nobody to take the force of the blow: what Mezzanine provides instead is a succession of parties and relationships and panopticons where the walls won’t stop closing in.