| 100th window (10/02/2003) | |||
| highest uk chart position #1 (10 weeks in top 100) | |||
| cd: cdv2967 | |||
| 3x12": v2967 | |||
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1 (a1) |
future proof | 5:38 |
2 (a2) |
what your soul sings | 6:38 | |
3 (b1) |
everywhen | 7:39 | |
4 (b2) |
special cases | 5:09 | |
5 (c1) |
butterfly caught | 7:34 | |
6 (c2) |
a prayer for england | 5:48 | |
7 (d1) |
small time shot away | 7:59 | |
8 (d2) |
name taken | 7:49 | |
9 (e1) |
antistar [8:17]/ (f1) (untitled) | 19:38 | |
| note: some uk/us pressings are without copy protection software, all international versions contain copy protection software | |||
| cd promo: cdvdj2967 | |||
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1 |
future proof | 5:39 |
2 |
what your soul sings | 6:37 | |
3 |
everywhen | 7:36 | |
4 |
special cases | 5:08 | |
5 |
butterfly caught | 7:33 | |
6 |
a prayer for england | 5:44 | |
7 |
small time shot away | 7:57 | |
8 |
name taken | 7:47 | |
9 |
antistar [8:17]/(untitled) | 19:36 | |
data |
[cd player + copy protection] | ||
| interview cd: cdivdj2967 | |||
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1 |
why has this album taken so long? | 1:01 |
2 |
what prompted you to restart the project? | 0:51 | |
3 |
so what was the eventual starting point for this album? | 1:56 | |
4 |
how has your sound moved on from mezzanine? | 1:03 | |
5 |
why have you decided to abandon samples on this album? | 0:42 | |
6 |
to what extent have advances in technology affected your sound? | 0:39 | |
7 |
how can you ensure that your music is still emotional when it is so machine-made? | 0:59 | |
8 |
is it hard to find the right balance between experimentation and perfectionism? | 0:42 | |
9 |
sequencing an album can often be the hardest job of all | 0:45 | |
10 |
what sort of reactions are you getting to this new album? | 0:51 | |
11 |
do you think this new record will draw in new fans? | 0:21 | |
12 |
do you still get a thrill out of writing songs? | 0:38 | |
13 |
what's the starting point of most of your songs? | 0:22 | |
14 |
how do you match the singer to the song? | 0:44 | |
15 |
you clearly value horace andy's contribution to your music very highly... | 0:36 | |
16 |
why did you choose sinéad o’connor to sing on this album? | 1:00 | |
17 |
how did you approach her vocals? | 0:17 | |
18 |
tell me about her song 'a prayer for england? | 0:48 | |
19 |
how do you come up with the lyrics for horace andy? | 0:22 | |
20 |
how did you choose which songs would fit your voice? | 0:48 | |
21 |
when it comes to your own vocals are you very self-critical? | 1:02 | |
22 |
how do you make your vocals sound so intimate? | 0:46 | |
23 |
how do your lyrics come together? | 0:53 | |
24 |
you're printing the lyrics on the album sleeve this time... | 0:38 | |
25 |
do you have great plans to update massive attack.com for this album? | 1:09 | |
26 |
how do you combine music and politics? | 0:33 | |
27 |
how are you active in the campaign to stop the war against iraq? | 1:00 | |
28 |
what's the significance of the album title 100th window? | 0:52 | |
29 |
'special cases' is the first single from this album, what's it about? | 1:24 | |
30 |
did that track always stand out as a potential single? | 0:24 | |
31 |
at what point in the creative process do ideas for videos kick in? | 0:37 | |
32 |
what do you envisage for the 'special cases' video? | 0:25 | |
33 |
how important is it to keep control over the way your music is marketed? | 1:07 | |
34 |
how did you arrive at the idea for your album cover? | 1:34 | |
35 |
those glass figures must gave taken some construction... | 0:41 | |
36 |
how ambitious will your live show be? | 0:49 | |
37 |
has trying out new ideas always been central to massive attack's existence? | 1:11 | |
38 |
now this album is finished, when will you be ready to record new material? | 1:10 | |
39 |
do you have any vocalists in mind for the next album? | 0:24 | |
40 |
what does being a part of massive attack mean to you? | 0:33 | |