This is the Third installment by Portishead, featuring members Beth Gibbons. guitarist Adrian Utley, and programmer/producer Geoff Barrow.
The “trip hop” sound is not evident on this newest release, and that is a good thing. Portishead has effectively developed a new sound that should be accessible to older fans if only because of Gibbons’ vocals and the dark atmosphere throughout.
Guitars permeate in the foreground on this album, reminiscent of the 90s “shoegazer” sound. The production is not overly processed which i can’t stress enough is what’s killing “rock” music’s street cred today. The arrangements are complex without being pretentious, and draw on many different influences… shoegazer, alt-rock, indie, bluegrass, folk, lounge, noir, jazz, and electronica.
Themes of self-loathing still remain in Gibbons’ vocals: “Looking out I want a reason to ber there / cause I don’t know / what i’ve done / to deserve you” on Nylon Smile.
“Plastic,” is the closest to their sophomore self-titled release in sound and tone. “Deep Water” is a short interlude of sorts which features Gibbons’ vocals over ukulele. It is immediately followed by “Machine Gun” which features the least organic sounding track on the whole album. There is heavy drum programming that drones behind Gibbons and manages to distract the listener form the lyrics.
Now… I ain’t gonna lie to you: The lyrics are kinda weak. Somehow the right proportion of being detatched seems orchestrated and not sincere, which peeves me throughout. Making sense of them is a difficult task, but feelings of detachment, hate, self-hate, etc. are alive and well with Portishead.
“Small” where Gibbons’ sings:
“Failure again
Tried to pretend
Who you were then
Who you are now
Hating the lord
Hating the lord
Hating the lord
Hating the lord”
“Magic Doors,” is the funkiest track on the album thanks to its percussion. More cowbell, please. But the vocal style didn’t change enough to compliment its tone.
Gibbons’ voice is made for melancholy. This does not work on a track with funky percussion, but it works on the more atmospheric and shoe-gazery tracks.
The finale track, Threads, much like “Small” features the formula of self-depricatig chorus, with repititous one-liner:
“I’m worn, tired of my mind
I’m worn out, thinking of why
I’m always so unsure
I’m always so unsure
I’m always so unsure
I’m always so unsure
I’m always so unsure
I’m always so unsure”
Portishead fans should be able to make the transition and those before who may not have liked the electronic and hip hop influences will find a newer alt-rock sensibility which makes portishead more accessible to the mainstream.
It is not the most amazing album ever made, but important to notice that after 11 years it makes you wonder how bad of a breakup was it that makes Gibbons so damned sad.
Though I didn’t love it, I liked it. 3 out of 5 stars.
