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Portishead have succeeded! When you thought they couldn’t become any more dour than they were on their two previous albums, along comes their comeback, Third. It seems they have been listening to Nine Inch Nails and industrial rock which shows up as a harder edge in their new songs. But there is no question: this album is truly great.
Portishead — multi-instrumentalist/producer Geoff Barrow, singer/writer Beth Gibbons and guitarist Adrian Utley — hit the scene back in 1994 with their debut “Dummy.” The single “Sour Times (Nobody Loves Me)” became a huge success worldwide. They were considered a major part of the electronic trip-hop genre which infused beats from hip-hop music along with down-tempo electronica. The scene was based primarily in the town of Bristol, England where Portishead formed. They took three years to release their second album, Portishead, which built upon their unique sound. Surprisingly, because Portishead doesn’t like to perform live, they came out with an amazing live concert video in 1998 called PNYC which featured the band with a full orchestra and a subsequent companion live CD later that year. Then there was a long ten-year silence, with nothing new from the band.
For the most part, Third doesn’t resemble their previous releases. Almost gone is the warmth of the hip-hop beats that made their previous songs so inviting. The uniting factor here is Beth Gibbons’ voice and her dark lyrics. The single “Machine Gun” is a stark assault of rat-a-tat drum machine beats and icy cold minor chords, played on synthesizers. There is no guitar at all, no bass. The only thing that takes the chill off the industrial sound is Ms. Gibbons sad yet lithe lounge-singer crooning, and that doesn’t relieve the dark palette. Her lyrics only add to the mood: “If only I could see, return myself to me and recognize the poison in my heart. There is no other place, no one else I face. The remedy, you will agree I’ll hide from you.” It all compellingly pulls you into the song.
"We Carry On" Live at ATP '07:
“We Carry On” is another driving “industrial strength” track. It starts with a single, rapidly pulsing keyboard note. The booming bass drum kicks in sounding like it’s in a vast cavern, joined by a tapping high hat and then a repetitive, retro Doors-style organ riff. Gibbons bursts into the song with her echoing, tortured soprano that repeats only a few notes up or down throughout. This one includes guitar, although it is quite discordant as it shrieks its initial presence with dreary chiming. Fortunately it warms up some with fiery yet haunted surf guitar as the song progresses.
“Silence” starts the album off with a sample of a man speaking in Portuguese which gives way to a solitary piano chord, then pummeling, syncopated drums with a steady snare beat, and a deeply vibrating, almost fuzzy bass. The guitar kicks in with its simple, one-note, squealing guitar lick. The synthesized strings sweep in, lending a grander sound to the song. Beth begins her echoing and mournful singing at the 2:12 mark. It’s mesmerizing.
Besides the harder edged songs there are some beautiful moments too. “Hunter,” “The Rip” and “Threads” are all slower paced “ballads” showcasing Beth’s gorgeous, soaring vocalizations. Both “Hunter” and “Threads” begin with sparse jazzy arrangements of guitar, drums & keyboards. But even these have some intermittent, dissonant and menacing guitar and synthesizer.
The song “Magic Doors” is probably the closest sounding to the previous incarnation of Portishead’s music. It has a funky, syncopated hip-hop snare, echoed cowbell and crashing cymbals. A huge, booming bassline accompanies them along with wheezing accordion. Gibbons intones, in her warbly style, “I can’t deny what I’ve become, I’m just emotionally undone, I can’t deny, I can’t with someone else.” About three-quarters through the song, a tortured, distorted oboe screeches out a solo. And even with that the song is the most danceable on the album.
The only minor misstep is the flapper-era-style ukulele and voice number “Deep Water.” It’s simply so different from anything they’ve done before and from everything else here. Maybe it’s just the placement between the two most industrial-oriented songs on the album that causes it to seem out of place. Still, the more I’ve listened to “Deep Water,” the more endearing it has become.
Surely, some fans may very well be put off by Portishead’s new direction. It certainly isn’t for everyone and I highly doubt most will be playing it for “pleasant” background music. I wonder if Portishead had as their goal to successfully be more dour than before. It is a fascinating direction nonetheless, one in which they let us know they aren’t willing to sit back on their trip-hop laurels and bask in their iconic status. Portishead have come back aggressively and are pushing the boundaries of what the trip-hop genre is about. And I am grateful they have done so.
"Magic Doors" 3:38 mins.
Although my heart will always belong to Dummy, I've been deep into this since I finally procured it a week ago. Only the Goldfrapp and The Last Shadow Puppets albums are getting more attention from my touch pad.
I liked both tracks August... but I gotta agree with the man of Cutlery, Mike... Dummy will always have my heart ;) That was a disc always on repeat in my dorm !!!
Portishead is a band I appreciate for their artistry, without actually listening to them. Industrial sounds like a good direction for them. I like my angst nice n' loud! (Good live vid!)
The industrial touch attracted my attention most with the track "machine gun". The drums are typcial industrial, but not as metal industrial, but more as noise/electronic industrial. Interesting that you hear the indusrial touch also in other songs.
I have no problems with that, as I like this genre too, but it's clear that they left the genre, that they founded. I have to listen to this album a few times more to judge it seriously.
A great review. I second Hermes' sentiments. A good listen over-all, but "Machine Gun" is the track that really stuck with me.
MikeTK I agree, their older stuff does have a certain charm to it, but I'm really glad they ventured into new territory instead of being safe. Of course Goldfrapp would have equal footing w/their new one. I haven't hear the Puppets album yet but heard a few songs.
Lizzie yup, I wore both of their previous albums out!
Dar I like my angst good n' loud too. You might like this album.
Hermes 'Machine Gun' is a standout track for sure & I agree, their new sound is more electronic industrial rather than metal industrial. Btw, Portishead didn't found the trip hop genre since Massive Attack had already released an album "Blue Lines" in '91 by the time "Dummy" came out in '94. Massive Attack had been around since '88, so the genre had been established for some time. You can check my facts here.
Democlez thanks! Yea "Machine Gun" is quite memorable, especially since it's such a departure for the group.
Hihi. Yeah, I have Blue Lines, and it's in my musical pantheon on the same level as Dummy. But I never regarded it as "pure" TripHop, whatever that might be, more a mixture of Acid Jazz and TripHop. But I don't wanna argue about that. If the officials say that they are the first TripHop band, I'm fine with that. For me Portishead is THE exponent of TripHop and guys/bands like Tricky or Sneaker Pimps a kind of successor.
Great review!
yeah, I definitely picked up on the new direction..it was kind of off-putting at first, so I'm gonna hold off for more listens before I render any judgements. I appreciate the idea of growth for sure, and it sounds like they were a little sick of their inclusion in the coffeehouse classics pantheon.
Is there anything in their literature or that anyone knows, about the status of Andy Smith as it relates to P.Head? I always enjoyed his contributions to their sound and they seem to be missing on this record.
The first 2 albums where great bed soundtracks. Third is a great luuuve record if you like some one trying to hammer nails into your ears at the same time.....
I'm liking it.....lots.
I think it sounds fantastic.
please dont scoff... but ive never cared for them. i think that may be one of my biggest mog sins. generational thing maybe? but im guessing i just havent been exposed to enough. the electro side fairs well with me though.
Damn you, Aug with your enticing reviews. I must now get their new release at all costs.
i'd never cared much for portishead before, i think because i'd only heard separate tracks rather than a whole album. but i sat and listened to this in bed last night and it was just what i needed. i couldn't even stop listening to it when i went to the bathroom lol. i'm truly converted! favourite tracks are probably The Rip, We Carry On and Machine Gun, but there isn't one i don't like.
First of all, congrats for this fabulous review!
Well, despite of loving their new dazzling chemistry (Magic Hours sonority is to die for) I believe "Dummy" will always be my Portishead's numero uno.
Thanks for the review....it's on my desktop waiting for me........
Yvw dear, my pleasure! It's an amazing album as were they live at Coachella!
Uncle A! Welcome back! Missed ya! I'm expecting juicy reports....... ;)
Why thank you niece. Here's a juicy one: ask Blair about CRICKETCHELLA !
And so it begins......
mwuahahahahha
Yup! I saved him & Lizzie from a super scary cricket but the story of what happened has to be told by Blair first, then you'll get our stories. It's a pretty damn funny event, although it may end up being a 'you had to be there' to truly appreciate it. So how are you my dear?!
Uncle A to the rescue = super uncle!
I'm quite well. Enjoying the every day luxuries of life (INTERNET!!!) :P
My show got cut off along with all the weekend shows (they wanted a just music concept), but I'm not bummed out, 'cause we were having......artistic differences lately ;)
At the end of May I'll start bombing London- based music related companies with CVs & see how it will go.
hehe, where's my damn cape? So you're contemplating relocating huh? Wow, you really are a London type guuuuurl. That's drag they cut out your show(& cutting out the human warmth but they've been doing that here on radio in the US for years. One of the reasons radio has gone downhill) but that may be the catalyst to get you to the UK. My evil plan is working, lol!
Here's the last song of their set at Coachella called 'Threads'(thank goddess for youtube!):
Hermes yea, genre labels do get troublesome since they don't adequately describe all that the music entails.
Cody the new direction will put off many fans I'm sure but I don't mind it at all since I like NIN & that genre. Growth is important for a group to stay fresh. Some groups would reunite & do what they've always done, so I give them major props for doing something new. Fortunately it's a direction I can & will go. I haven't seen anything about Andy Smith, sorry.
Neill I love your assessment there, it's spot on. Industrial luuuurve can be interesting, lol!
Oat it does!
Sam I won't scoff at you much, heh. Yea, must be a generational thing, so no worries. So what have you heard of theirs? I could hook you up on the dark side dontcha know.
Michael I hate it when I read a good review that compels me to buy the cd! Glad you enjoyed it. Thanks.
Laura27 I love being an evil music crack dealer, haha! Happy to hear I've helped to fully convert you to Portishead. My life is complete, lol!
Andrea thanks again dear. Yes, it seems the consensus is that "Dummy" rules as their best. I'm digging this album most since I've been waiting for something new. It will be interesting to see if it stands the test of time. Hopefully we won't have to wait as long for their next one.
love it!
Danke Helen!
what a great album eh? you nailed it Aug , and even deep water is growing on me...so true.
Thanks Cam. Definitely a great album.
Badass review August...I give Portishead credit for stepping out of their comfort zone. The sound is darker, more ominous. It grows on you. Some fans will dig it, others wont, but either way the band will create more intrigue with this album. Artists should change things up more often! Just look at what Bruce Spingsteen did with Pete Seeger and his 17-man bluegrass band...sometimes it works. And sometimes it doesnt...a.k.a Garth Brook's "Chris Gaines" phase. Cheers
Hey thanks Lior, glad you enjoyed it. I agree artists should change things up, even if it's for themselves. But yea, it doesn't always work. Fortunately it does for Portishead. And the new sound really sounded ominous live at Coachella.
Great review. I'm going to check this album out.
Thanks, enjoy the album, it's a classic Getafade & thanks for the comment.