It's been a while since we've heard Beth Gibbon's cheery vocals and upbeat lyrics. Portishead's wildly underrated self-titled sophomore record, despite being a better album than Dummy, got a relatively lukewarm reception that appeared to have effectively ended Portishead's career. 11 years later, we get Third.
Where once they delved into obscure soul and string samples over low key rhythm tracks wherein Beth Gibbons was the star of the show with her beautiful but tortured voice and lyrics, the new album sees her play down her vocals to a near-whisper. Instead, the listener gets Portishead's signature sound distorted and twisted by drum machines and synthesizers. Synths have always been a part of the band's sound, albeit much more prominent this time, but the new drums introduced in a few of the tracks serve to throw off expectations. The bass heavy We Carry On sounds like a logical continuation of Portishead's change in direction from the debut, reminiscent of Elysium. Machine Gun however is closer in form to Nine Inch Nails than Portishead. That's not the only surprise. Deep Water is one of the most outwardly bittersweet songs the trio has ever crafted, exhibiting a sole guitar and Gibbons' singing (and some distorted - and disturbing - backup singing to boot).
Much like they did in 1997, Portishead's new album disregards expectations . It's both a departure from and a continuation of the sound that made Portishead one of the best bands of the early British Hip-Hop movement. It doesn't adhere to any set formula, mixing a variety of styles yet remaining grounded in what can be considered Portishead's sound. While it could have, and probably should have, been released in 2000, Third has the makings of a timeless record and is a fine addition to Portishead's catalogue. Here's hoping they don't take 11 years for the next one.
8.8/10
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