Album Heligoland (Massive Attack). Songs and videos online

Heligoland is the fifth regular studio album from the collaborative British music production duo Massive Attack, named after a German archipelago of the same name. It had been officially released everywhere except North America by 8 February 2010 (US and Canada on 9 February 2010) - seven years after the release of their previous non-soundtrack, standalone studio album, 100th Window. It has been certified Gold in the United Kingdom.

The record features the singing of Horace Andy plus invited vocalists: Tunde Adebimpe of TV On The Radio, Damon Albarn of Blur and Gorillaz, Hope Sandoval of Hope Sandoval And The Warm Inventions and Mazzy Star, Guy Garvey of Elbow and Martina Topley-Bird, as well as guitar playing by Adrian Utley of Portishead (on "Saturday Come Slow"), keys from Portishead collaborator John Baggott (most notably on "Atlas Air"), keys and synth bass from Damon Albarn ("Splitting the Atom" and "Flat of the Blade" respectively), guitar (various tracks) and bass ("Girl I Love You") by Neil Davidge and bass by Billy Fuller of Beak on various tracks.
The record features drumming from the late Jerry Fuchs and regular session and touring drummer Damon Reece. Dan Brown and Stew Jackson (Robot Club) co-wrote "Paradise Circus", played guitar on and co-wrote "Saturday Come Slow", and part-programmed and engineered those tracks. Tim Goldsworthy contributed additional production (specific tracks unstated). Most tracks were mixed with Mark "Spike" Stent and then all were mastered with Tim Young at Metropolis Studios, as with previous records. Unlike previous records, there are no personal acknowledgements on the inlay. Neil Davidge co-produced all tracks with Robert Del Naja only (except tracks 3, 7 and 9 where Grant Marshall was also involved), though Marshall has a co-write credit on every track. The album is dedicated to the memory of Blue Lines co-producer, Jonny Dollar.

The album release was preceded on 4 October 2009 by an EP, Splitting the Atom. During its gestation, the album was often referred to in the media as "LP5" (a reference to this being their fifth studio album - excluding Danny the Dog) or "Weather Underground" (Robert Del Naja's early working title and underdog metaphor for the record).
The artwork, as with every Massive Attack album since Protection, is a collaboration between Tom Hingston and Del Naja, this time based on Del Naja's paintings. Transport for London, in line with their policy to not encourage graffiti, insisted the cover image featured on advertising posters displayed on the Tube be altered so as to not resemble "street art", obliging the artists to remove drips and fuzz from the original image.

Many other guest vocalists recorded sessions during the duo's post-100th Window era but are not featured on the album, including: Stephanie Dosen, Yolanda (Quartey of Phantom Limb - effectively Robot Club's band) and Jhelisa (Anderson, not in the studio but via supplied backing tracks - had previously studio-recorded in 2002 for, but not included on, 100th Window); and, mostly during the pre-Collected time - Mike Patton, Aku and Akwetey Orraca-Tetteh of Dragons of Zynth, Elizabeth Fraser, Terry Callier, Fredo Viola, Debbie Clare, Beth Orton and Dot Allison. Mos Def and Leslie Feist were named as artists scheduled for recording sessions back in 2004. Backing tracks from Grant Marshall's side of Massive Attack's writing (mainly facilitated by and done with Robot Club) are known to have been sent to Alice Russell, and prepared for Sharon Jones, Patti Smith and David Bowie during the era but collaboration did not come to fruition, nor did talks with Tom Waits or Tricky, in terms of featuring as guest vocalists on the record. Post-punks Mark Stewart and Keith Levene were pictured inside Del Naja's 100 Suns studio in 2009, but played no part on the album.

"I think it's got definitely a more organic feel, " says Del Naja of Heligoland. "100th Window was very much about this amalgamation of everything joining, and eventually the process was so extreme that you couldn't tell if there was a string part if it was electronic or natural. lots of organic parts that ended up sounding very electronic. It became a whole world of different processes, and we wanted to do something a bit different because we've had that experience so we wanted to do something else."