This isn't a uniformly accepted opinion at Flashlight (see here for evidence), but Portishead's Third upped the ante for what could realistically be expected from influential, innovative but somewhat workshy West Countrians. Replacing slow, smoky hip hop beats with intense synths was a harsh change, but Third was a brave, successful evolution in Portishead's sound that contained some of their finest moments to date.

So what of Massive Attack's first album in seven years, and first since 1998's career high Mezzanine to feature Daddy G as well as 3D? Initially, it feels like they've blown it. First and second listens do not auger well for Heligoland, suggesting a disparate collection of songs without a cohesive narrative or sound, seemingly linked only by the unrelenting coldness and lack of memorable melodies. 'Flat of the Blade', a collaboration with Elbow's Guy Harvey is particularly grating; its sparse bleeps and affected vocal nowhere near as menacing as intended. It's simply boring.

Scratch the surface, however, and Heligoland provides ample rewards for your patience, and a growing realisation that these songs actually represent a similar organic evolution of sound to those on Third. Massive Attack's sound system roots are still present and correct, merely set within a different framework. 'Splitting the Atom' is far more successful in album setting than on the EP of which it was the title track; its rolling dub basslines and Horace Andy vocals set to glitchy electronica suddenly making sense as a thoroughly modern take on reggae. Similarly, for all 'Atlas Air''s swirling organs and Warp production flourishes, the driving force is a scuzzy dub bass riff; the most memorable moments on Heligoland represent an update rather than total reimagining of the band's sound.

The star of the show, undoubtedly, is the Hope Sandoval-featuring 'Paradise Circus'. It's syncopated beats and whispered vocals may have a truly eerie presence as opposed to 'Teardrop''s elegiac beauty, but when the huge string refrain enters halfway through, it comes unexpectedly close to matching its splendour.

Elsewhere, Damon Albarn provides the vocal performance of his career on the impassioned 'Saturday Come Slow'; his refrain of "Do you love me?" proving surprisingly affecting. However, atmospheric and engaging as it undoubtedly is, it essentially sounds like a Massive Attack take on Blur's 'Out Of Time'. As, in fact, does opener 'Pray For Rain', though the tribal feel and sudden lightness of harmony in its final minutes provides one of the most intoxicating segments of the whole album.

This feeling that Massive Attack are at times following rather than leading their contemporaries throughout Heligoland is what ultimately finds it stopping short of classic status. It is arguably the band's most consistent album to date, with only the aforementioned 'Flat of the Blade' being skipworthy. It is an LP that, once it gets under the skin, demands constant listens. As good as it is though, Portishead still edge the battle of the long heralded returns of the lazy West Countrians. It's damn good to have them both back and fighting fit though..

Right, in the next week or so (deadlines don't exist in Flashlight world; we're such renegades) we will be launching a weekly e-mail newsletter. This will basically be the usual gubbins, letting you know what we've reviewed and found funny in the last week, what we have coming up, as well as details of competitions. If you would like to sign up, please just send an email with your name and email address to newsletter@flashlightmusic.co.uk - we've said it before but it definitely bears repeating: if you saw most of us trying to work computers you'd believe us when we say we wouldn't know how to do anything untoward with your email address, even if we wanted to..