Third - Dark Publications

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Amazon.co.uk
Portishead's Third has been a long time coming, the result of a lengthy creative torpor 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

Customer Reviews: Read 173 more reviews...

5 out of 5 stars

A Haunting, Claustrophobic Vision! A Perfect Comeback! April 29, 2008
63 out of 94 found this review helpful

A 10-year hiatus is enough to make even the most optimistic fan doubtful. Portishead decided to stop making music together back in the late nineties, so it's hard to believe that there were many people out there holding out hope for a comeback by the time the band started to reemerge in 2005. But now, basically 11 years after their last studio album was released, the trip hop pioneers have been gracious enough to give us another fantastic album; whether we were expecting it or not.

From the very beginning, long time fans will notice that Third has a very different feel from their previous two albums. The album begins with a seemingly insignificant soundbite of a man speaking in Portuguese. He speaks of the Wiccan "Rule of Three," which is similar to the "golden rule" in Christianity or Karma in Eastern religions. Essentially it means that any energy put out by a person will be returned to him, be it good or bad. The lyrics of the song reflect this cyclical idea. Beth moans in the song's chorus, "Did you know when you lost?/ Did you know when I wanted?/ Did you know what I lost?/ Did you know what I wanted?" It is a haunting way to reintroduce yourself to the world, but in many ways its sets the tone for Third.

On "Hunter," a neo-noir masterpiece, Beth's vocals float hauntingly over acoustic guitars and a jazz kit. In the chorus, Beth coldly questions, "And if I should fall/ would you hold me?/ Would you pass me by?" The song breaks down several times with a jarring 4-note synth line that serves to add to the song's already frightening nature. "Nylon Smile" is more in line with Portishead of old, with a very cool reverse-synth line that carries throughout the song's 3 1/2 minutes. Beth sings of self-doubt and her need to change into someone that she can stand. She sings, "I struggle with myself/ hoping I might change a little/ hoping that I might be/ someone I want to be." It's a beautiful song despite its depressing subject matter.

"The Rip" is a personal favorite of mine, being the first song on the album that got stuck in my head. In the song's first half, Beth sings, "Wild white horses/ they will take me away/ and the tenderness I feel/ will send the dark underneath/ Will I follow?" over a simple acoustic guitar and what sounds like an oboe in the distance. Those lyrics are gorgeous, people. Also gorgeous is then the acoustic guitar that is soon replaced with a moog-ish synth sound. It's one of the album's cooler moments and I can't get enough of it! It's followed by "Plastic," a less poppy, darker affair. Its chorus is complemented by bombastic drums and a thick electronic buzz-saw of a bass. The production here is incredible, taking seemingly incompatible parts and making them sound fluid and natural.

"We Carry On" takes a bass-heavy, industrial beat and carries it throughout its length, adding in sketchy guitars and minimalist drums as it progresses. It's one of Third's most memorable songs, if only for its persistence. Where other songs tend to be somewhat reluctant, this one charges out of the gate and never lets up, forcing the listener to perk up and listen intently. "Deep Water" is the album's only "upper." Featuring nothing but a ukulele and vocals, it is a hopeful song about overcoming adversity. Beth sings in a childlike whimper, "I'm drifting in deep waters/ alone with my self doubting again/ try not to struggle this time/ for I will weather the storm." It's one of my favorite songs on Third, mostly because it's a glimmer of hope in an album that is as bleak as they come.

"Machine Gun," the album's first single, features a commanding drum loop and Beth's haunting vocals almost exclusively. Beth is left to harmonize with herself, and the end result is truly affecting. Still, the song can get a bit repetitive by the time the haunted house synths come in at the 4-minute mark. It's a decent song, to be sure, but there is better on Third. Case in point: "Small," the album's longest and most chilling track. It starts out softly, with Beth crooning, "If I remember the night that we met/ tasted a wine that I'll never forget/ open the doorway and saw through the light / motions of movement, and I felt alive." It slowly builds, adding an upright bass and harmonies before busting out with one of the album's trip-hoppiest chord progressions. After several minutes of uptempo grooves, the instrumentation once again drops out, leaving only the bass and vocals.

"Magic Doors" gives the albums one of its catchier tunes, and it's one of the few that I can even picture myself singing along to. It features Third's most upfront arrangement, with lush instrumentation throughout, including, a steady drum beat, synths, a piano, and bass. It's a great song, and a wonderful change of pace. The band slows things back down for the closer, however, and it's simply stunning! "Threads" is a song that is brilliantly arranged, with nothing feeling excessive or lacking. It changes pace unpredictably, and features Beth's best vocal performance on the album - possibly ever! The moment comes at about the 4:05 mark when Beth begins singing with every ounce of her being. To be honest, the first time I listened to Third, I wasn't that impressed with Beth's vocals. I felt like she spent too much time trying to sound like a floaty witch, even when the music didn't require it. But this one moment completely negated my concerns, and made me realize just what she was trying to accomplish with her vocal stylings.

If Third could be described in a single word, that word would be "claustrophobic." From the very beginning to it's amazing conclusion, Third is an album that exudes hopelessness and despair. Listening to it, I can't help but close my eyes and picture the band playing inside of a tiny cell, desperately longing to be free. There are glimpses of hope - beams of light shining through a tiny cell window - but the overall mood that is conveyed with Third is incredibly bleak. As such, many of the more radio-friendly sides of Portishead have been shed to make way for a sound that is much more raw, more emotional and real. Whether this album is even definable as "trip hop" is debatable. I have heard the term "torture chamber pop," applied too, which is definitely headed in the right direction. As it stands though, Third is a difficult album to define, and Portishead should be credited with that. It is an album whose technical merits are outdone only by the emotional shadow that it casts on its listener. It is unlike anything I've ever had the pleasure of hearing, and it is a journey that absolutely needs to be experienced!

Key Tracks:
1. "Hunter"
2. "The Rip"
3. "Deep Water"
4. "Magic Doors"
5. "Threads"

9 out of 10 Star

2 out of 5 stars

Prepare to be very disappointed May 2, 2008
27 out of 55 found this review helpful

I loved the first three albums of Portishead (including the live one), and believe that they hold up remarkably well. As many fans, I bought the album as soon as it was announced. And it was the biggest musical disappointment in recent memory. Have you ever listened to Morricone's "serious" (and serial) music? Or Gershwin's attempts at serious (Ravel-influenced) experiments? Or Zappa's fixation with Edgar Varese? These are all examples of gifted popular musicians with a knack for melody and harmony, who give in to an inferiority complex and give a shot at respectability. In the case of "Third", the album is significantly more angular, harder to listen, and ultimately a failure. There is not an interesting melodic line, and the arrangements and moods have lost all their originality. Beth Gibbons has turned into a parody of herself. It's depressing and saddening. I could barely bear the musical death of Massive Attack. But Portishead? Is Bristol turning into the city of the undead???

2 out of 5 stars

All Tension, No Release. April 30, 2008
23 out of 39 found this review helpful

"It reminds me of what a headache feels like... and why we get them," is how a friend put it.

In past albums, Portishead has done an amazing job of pushing the envelope. This album went too far though.

The music was all tension and no release. It felt like it should be building to something, but never broke.

Portishead is one of those great bands that can get under your skin, make you a little bit uncomfortable, and then transport you someplace new. This album only did the first two, but completely missed the all important third step. It did not open up to anything. It was like they were so pleased with their ability to create a creepy narcotic vibe, that they never bothered to consider what use they were going to put it to.

It might as well have been a 45 minute sound check.

3 out of 5 stars

three for 3....... April 29, 2008
21 out of 30 found this review helpful

been a long time, i didnt even know if they were still together, but they are, by far the best two song on this long awaited cd are WE CARRY ON and MACHINE GUN, some of the other songs, well, kinda dull the cd need some more of what these two tracks have. But, i feel i have heard this kinda sound before.....YES, if you like this kinda sound then check out the first two cd by the group flying lizzards the lizzards where way before there time, I am not saying this is not good, it has to grow on you. I just think if they would have done a few more songs like the two best track, it would have been a 4 for 3. god knows they have had enough time to make this cd great. It seems like they were too afraid to make it too pop. Like i said before, if you like this, take the time to check out the first cd release by the flying lizzards, yes its got the cover song MONEY. But after all these years for them, it still holds up. hope 3 can do the same as time goes on.

3 out of 5 stars

What's so wrong about wanting more of the same????? April 30, 2008
21 out of 32 found this review helpful

Everyone keeps praising this album for having a fresh sound. Yes "Third" does sound different then past albums, and everyone praises them for that. However personally I want more of the old style. That is the Portishead I can bob my head to. Their first two albums is what brought me to love and appreciate the band(and you other fans too!), so why is it so wrong for them to make another album like them?? I would love another album of fantastic songs that I can listen to from beginning to end.
I'm not saying the album isn't without merit. However A lot of the album has the feel of Beth/rustin man project, "Out of Season". The recipe of their songs on the last two albums worked so well. If you are expecting the same groove that you loved about their first two albums, you will be let down. If you really loved "Out of Seasons" and mixed in some(a small bit) of the portishead feel, then you might be happy. That being said, I would have welcomed More of the Same from such a wonderfully talented group!

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