Massive Attack is one of the major groups associated with trip-hop, a genre fusing elements of standard 80s and 90s British hip-hop with timbral components of electronic music, jazz, and dub. This paper considers the popularity of Massive Attack's 1998 album Mezzanine among listeners not otherwise affiliated with hip-hop at large. I identify a timbral/textural feature, which I call the "Dissolved Girl" schema, in which the artists juxtapose genre-typical attributes of a "light," breathy, and lyrically fragmented vocal feature with the "heavier" timbral and pitch attributes of rock. I track the schema throughout Massive Attack's discography, from its most normative usage on Mezzanine to variants found elsewhere in their output. Considering group members' observations of the shifting composition of their audiences post-Mezzanine toward a whiter and more rock-identified listener base, I identify this schema as part of a transitional compositional period for the group.