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Portishead's Third has been a long time coming, the result of a lengthy creative topor following 1997's dark, distinctly underrated album Portishead. Importantly, though, they've shaken it. While the core trio of Beth Gibbons, Geoff Barrow, and Adrian Utley remains, this is quite a different band to Portishead's 90s incarnation: gone is the slo-mo turntable scratching and smoky jazz feel, replaced by heavy, brooding rhythms, vintage-sounding electronics, and spindly guitar. Still present, though, is that sense of emotional fracture and deep gloom. "Silence" opens with a dense drum loop which suddenly falls away to reveal Gibbons' voice, cold but magnificent: "Wounded and afraid, inside my head/Falling through changes". "Nylon Smile", meanwhile, is a fine example of Third's occasional folksy edge, an acoustic song reminiscent of Leonard Cohen that, around its midpoint, lifts off on a propulsive electronic rhythm, Gibbons holding one clear, hard note as synthesisers bubble beneath. At times, it's a harsh and foreboding listen: the electronic drums of "Machine Gun" might put off the listener hoping for smooth dinner party fare. But Third is a brave and forward-thinking return, and one great enough to justify its lengthy gestation. --Louis Pattison
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Most Helpful Customer Reviews
10 of 10 people found the following review helpful
Format:Audio CD
Having waited eleven years to return with such a highly anticipated third album, one could be forgiven for thinking that Portishead's 'Third' would be anything other than a shattering disappointment. For many of the band's dedicated following, questions as to how relevant Portishead could be in 2008 were sure to be raised. Furthermore, doubt was also bound to be cast over the possibility that they mightn't be able to recapture the essence of what made them such a unique band in the first place. With expectations of unprecedented scope, Portishead have somehow managed to create an album of such staggering brilliance as to render any preconceived doubts, ridiculous. 'Third' displays a significant development in Portishead's sound, whilst maintaining the underlying elements at the heart of their two previous albums. A concoction of electronic experimentation, tribal drum beats and Beth Gibbons' hauntingly fragile vocals, make for Portishead's darkest, most tension-fuelled album to date. Opener `Silence' sets the tone with a repetitive drum section and sparse bass allowing Gibbons to take full focus with typically introspective lyrics and delicate delivery. `We Carry On', arguably one of the band's finest achievements yet, adopts a similar approach, utilising tribal sounding drums to create almost unbearable tension, before reaching an epic, guitar-led chorus. `Machine Gun' shows Portishead at their most experimental. Centred on a menacing electronic drum beat, the track provides one of 'Third's' most distinctive moments, producing an atmosphere quite unlike anything they have previously released. In fact, `Machine Gun' may be seen as a bold statement of intent, given that it was the band's comeback single, albeit with an extremely limited release, the song clearly serves as a reminder that Portishead are not a band content with playing things safe.
'Third' also has its quieter moments; `The Rip' highlights the band's more melodic sensibilities via subtle acoustic guitar and vocals, while the eerie `Deep Water', perfectly placed between `We Carry On' and `Machine Gun', offers a moment's respite from the sonic abrasion of the tracks it lies between.
The one minor criticism that could be levelled at Third is the occasionally muddy sound of its production. Whilst the lo-fi production techniques at work here are well suited to most of the tracks, there are moments, such as on `Plastic', `Small' and `Threads', in which the overall clarity of the instrumentation can be slightly lost. However, such imperfections are easy to overlook in light of this most spectacular of comebacks. Let's just hope we don't have to wait quite so long for album number four.
'Third' also has its quieter moments; `The Rip' highlights the band's more melodic sensibilities via subtle acoustic guitar and vocals, while the eerie `Deep Water', perfectly placed between `We Carry On' and `Machine Gun', offers a moment's respite from the sonic abrasion of the tracks it lies between.
The one minor criticism that could be levelled at Third is the occasionally muddy sound of its production. Whilst the lo-fi production techniques at work here are well suited to most of the tracks, there are moments, such as on `Plastic', `Small' and `Threads', in which the overall clarity of the instrumentation can be slightly lost. However, such imperfections are easy to overlook in light of this most spectacular of comebacks. Let's just hope we don't have to wait quite so long for album number four.
71 of 79 people found the following review helpful
Format:Audio CD
Portishead's Dummy was quite an achievement - rarely does a band come from nowhere with their debut and blow people's minds with a truly original sound. The second album, whilst perhaps sounding more 'live' on a few tracks, was essentially more of the same - which is no bad thing when your music is as unique as theirs. But there comes a time when a truly great band must prove their genius by going in a new direction, and somehow succeeding in retaining the vein of quality. Radiohead did it, Bjork did it, and now Portishead have done it - they just did it more emphatically....
Third is an album that took ten years to come. Barrow, Utley and Gibbons have done an admiral thing - they have spent many years cultivating the record, probably writing and rewriting, recording, binning and re-recording, to eventually have an album's worth of songs worthy to appear on a Portishead album. They have also, by the sounds of it, been listening to a LOT of different types of music along the way. Because no matter what people tell you, this is an EXTRAORDINARY record which, with the exception of two songs, sounds nothing like their first two albums.
Of course, Gibbon's voice is unmistakable, and that in itself makes it Portishead. But the way she uses it is different - gone are the melodic choruses from songs like All Mine and Sour Times (believe me, they are melodic compared to THIS album) - instead Gibbons' voice is now used almost as an instrument, another sonic layer, the subtle beauty of which may only hit you after several listens.
As well the vocals, the instrumentation on Third is very different from the previous albums. No scratches this time around, few breaks - instead, very harsh industrial drumming (Machine Gun)and doomy, proggy guitar riffs (Silence). There is even a moment, with stand-out track, The Rip, that you could dance along to in your bedroom, although you might want to paint your walls black first - because Third is one of the darkest albums you're likely to hear this year.
No band that I can think of has created a follow-up album like this - every song is unique, they are all superb, and it is nothing like the earlier albums. Moreover, despite Barrow et al's obvious desire to do something new, Third still feels organic when you listen to it - it isn't the sound of pretention, it's the sound of perfection.
Third is an album that took ten years to come. Barrow, Utley and Gibbons have done an admiral thing - they have spent many years cultivating the record, probably writing and rewriting, recording, binning and re-recording, to eventually have an album's worth of songs worthy to appear on a Portishead album. They have also, by the sounds of it, been listening to a LOT of different types of music along the way. Because no matter what people tell you, this is an EXTRAORDINARY record which, with the exception of two songs, sounds nothing like their first two albums.
Of course, Gibbon's voice is unmistakable, and that in itself makes it Portishead. But the way she uses it is different - gone are the melodic choruses from songs like All Mine and Sour Times (believe me, they are melodic compared to THIS album) - instead Gibbons' voice is now used almost as an instrument, another sonic layer, the subtle beauty of which may only hit you after several listens.
As well the vocals, the instrumentation on Third is very different from the previous albums. No scratches this time around, few breaks - instead, very harsh industrial drumming (Machine Gun)and doomy, proggy guitar riffs (Silence). There is even a moment, with stand-out track, The Rip, that you could dance along to in your bedroom, although you might want to paint your walls black first - because Third is one of the darkest albums you're likely to hear this year.
No band that I can think of has created a follow-up album like this - every song is unique, they are all superb, and it is nothing like the earlier albums. Moreover, despite Barrow et al's obvious desire to do something new, Third still feels organic when you listen to it - it isn't the sound of pretention, it's the sound of perfection.
4 of 4 people found the following review helpful
Format:Audio CD
Basically, I have two points.
1. This album is brilliant, Portishead progessing from the first two albums (3rd if you take into account Beth's stunning solo effort). If you like Portishead's earlier stuff or quite simply, even you don't know any Portishead, this band is'nt concerned with marketing, sold out world tours or top ten singles. They're musicians plain and simple. It's all about crafting a sound, just look at they're output. I wish more artists where like portishead and less concerned with media appearances etc.
Buy it now, you won't regret it!!! (even if you have to give it a few listens, nothing worthwhile is ever easy)
and
2. Anyone who as given this a 1 star rating, cleary knows nothing about music. I suggest they should dust of their Roxette and Extreme cd's and leave grown up music to grown up minds. This is Portishead experimenting and I think they've pulled it off. Power to them and Beth's vocals are awesome no matter what anyone says, ok, so it's either sultry or woefully styled, but that's what I like about it, if you want to listen to a singer, go and buy Susan Boyle's cd. This is art and it's great. Egotistal and self indulgent? maybe, but all the great creative people generally are.
1. This album is brilliant, Portishead progessing from the first two albums (3rd if you take into account Beth's stunning solo effort). If you like Portishead's earlier stuff or quite simply, even you don't know any Portishead, this band is'nt concerned with marketing, sold out world tours or top ten singles. They're musicians plain and simple. It's all about crafting a sound, just look at they're output. I wish more artists where like portishead and less concerned with media appearances etc.
Buy it now, you won't regret it!!! (even if you have to give it a few listens, nothing worthwhile is ever easy)
and
2. Anyone who as given this a 1 star rating, cleary knows nothing about music. I suggest they should dust of their Roxette and Extreme cd's and leave grown up music to grown up minds. This is Portishead experimenting and I think they've pulled it off. Power to them and Beth's vocals are awesome no matter what anyone says, ok, so it's either sultry or woefully styled, but that's what I like about it, if you want to listen to a singer, go and buy Susan Boyle's cd. This is art and it's great. Egotistal and self indulgent? maybe, but all the great creative people generally are.
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Most Recent Customer Reviews
Warning:This could seriously damage your love of Portishead.
I'm sure it's possible to persuade yourself that a band which has made two terrific albums is incapable of something so bad it shakes your belief in how good they were. Read more
Published 8 days ago by D. M. Bell
Worth perservering with.
This an album that just gets better and better with every listen. It's carefully woven rhythms and subtle reverb laden vocals and instruments create a strangely claustrophobic... Read more
Published 1 month ago by Fabio de Bolleaux
how people can give this already classic record a 1 star from 5?
What a return! 10 years out yet Portishead hit 2008 as if they've never been away. Some subtle differences in their sound, with much of the `trip-hop' gone in favour of Silver... Read more
Published 3 months ago by Micky67
Portishead has been greatly missed
Portishead released two very successful albums in the 90's and then disappeared for 11 years to concentrate on solo careers. Read more
Published 9 months ago by Amillionmiles
Falling through changes
Throughout the decade interval between Portishead's self-titled second album and Third, it seemed impossible to imagine what a follow-up would sound like, or if it was even... Read more
Published 12 months ago by the messenger
English Weather
I wish I could relive the first time that I listened to this on my headphones. Rushing back from the record shop almost frightened that it wasn't going to live upto expectations. Read more
Published 16 months ago by B Moraes
Prime example of a great band trying too hard to be different
I'm astounded by the number of good comments about 'Third'. I've listened to this album over and over and over and just come out with the exact same feelings every time - I want to... Read more
Published 17 months ago by T. Spencer
Slow-burner, but worth the patience
First of all, I have to declare a huge amount of love for the first two Portishead albums, and I have PNYC down as one of the best live albums I've ever heard. Read more
Published 19 months ago by Solomon Grundy
Bonkers and brilliant
This was the long-awaited third album from Geoff Barrow, Beth Gibbons and Adrian Utley, who as Portishead created one of the key albums of the mid-90s in Dummy. Read more
Published 20 months ago by klaher
Turrd!
Absolutely terrible piece of self indulgent tripe! It's not big and it's not clever. Should come with some sort of warning like they put on fag packets to put you off buying. Read more
Published 21 months ago by C. S. Lockley
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