Reviews: Third – Portishead

May 12, 2008 at 9:23 pm (Uncategorized) (, , , , , , )

HA, I knew it, this album makes me want to kill myself, and that’s a good thing!!!

Nah not really, but it’s sounds like a soundtrack for suicide. Seriously, this album is the darknest thing I’ve heard in along time. I knew we were in for something off the wall when I first listened to leading single ‘Machinegun’ a few months ago, and I was right.
This album is excellent, dark, industrial, forbiding and intense. I read in a magazine recently that people apparently liked to have sex to the old Portishead stuff…??? Well they certainly won’t be anyone shagging to this album, that’s for freakin’ sure. It’d be like having sex with a walrus in an abandoned mineshaft that’s collapsing. Beth Orton sounds so tortured on nearly every track, it’s as if she slit her wrists and recorded the vocals while sitting in a bathtub as it fills with her own blood. Not in the least bit sexy I can tell you!
But seriously, this is a very excellent album, one that I would recommend wholly. Don’t let my review fool you, it’s dark and deep but worth listening to, if just for the sheer pleasure of hearing something that’s so dark and industrial you wander where all the light in the world has gone.

Below is another review I found of it as well which pretty much echoes my sentiments.


Third – Portishead
By CHRIS SCHULZ – | Thursday, 24 April 2008

It’s been 10 years since the last Portishead album, but if you thought the Bristol trip-hop act spent that time cheering up, you’d be wrong.

Third is brutally dark, chillingly intense and way more paranoid than anything on the trio’s first two albums. Dummy, the band’s 1994 debut, sounds like Mariah Carey in comparison.

Fortunately, the darker mood suits them.

Third is still distinctively Portishead. Plastic could be an outtake from their second, self-titled album, with its woozy breakbeats, off-kilter keyboards and Beth Gibbons’ warbled vocals fraying around the edges.

But – as opener Silence proves – it’s a sparser affair, as the frail singer is given more room to show off her ghostly lungs. Check out ballads The Rip and Deep Water for the best of that.

A strong industrial feel permeates everything, with mood-influencing samples scattered around like leaves. The synths and guitars in We Carry On sound like something from a Nine Inch Nails track, while Machine Gun could have been recorded in a small arms factory.

The only lighter moment is Nylon Smile, but even that sounds like Dido doing emo.

Previously, Portishead operated in grey areas, that time before day becomes night. Now, they’re hiding under the bed with the doors locked, the lights out and their hands over their eyes.

As long as there are no razor blades around, it’s the best place for them.


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