There has always been an unusual feeling of space at the center of Massive Attack’s sound, as if the music was somehow adjacent to its own emotional core. Even in their most brilliant work—Shara Nelson’s voice clearing a path through the ragged and magnificent string arrangements of “Unfinished Sympathy”—the music’s heart feels somehow misplaced. What remains is a hole that perfectly suggests a forlorn and radiant lovesickness. Their work isn’t as much a reproduction of grief or loss or anger or rapture, as it is a series of perfect, and perfectly evocative, outlines. For all the emotional gravity that their better songs bring to bear, it is an effect that is accrued, rather than immediately impressed. The effect is as disorientating as it is unique.