It's fitting, given Massive Attack's history of in-fighting, that they should choose to construct a score for this Luc Besson film, whose protagonist is a slave who does his talking with his fists. Fitting, too, that the end result should be austere one minute and shot through with an understated elegance the next, reflecting the opposing strands that have shaped their sound. As such Danny the Dog feels, improbably, like a classically trained hybrid of Mezzanine and Protection, all heart-stopping strings and a persistent sense of dread. Little more than sketches some of these tracks may well be, but at best ('Sam', 'Everything About You is New'), this gainsays those who have dared to pen the group's obituary.