Difficult but interesting soundscapes.

A Vorrezensent wrote here, that this album was inaudible. Now in this statement lies a little truth, because in fact it is very weird and difficult for the untrained ear, what is sounds from the speakers. Yet for all this discrepancy music also sounds interesting. Unconventional and unmarketable soundscapes accompany the distinctive and shrill voice of Beth Gibbons. The extravagance of the album comes mainly from the sound, in my opinion, the song gives the songs even necessary-to-earth and transforms the inaudible in music. And stay tuned here is particularly worthwhile, what initially comes across diagonally and inappropriate blends gradually into the songs, until eventually the realization comes that every single element because back where it belongs heard.

Silence - After a spoken intro of the driving drum and drum sound begins chasing the listener through the entire title. Moreover then slow strings Sample and melancholic melody sung is placed. The contrasts nevertheless fall into place, the end of the song, however, is quite angry and abruptly.

Hunter - Dull drumbeats serve as a bass line, a slow acoustic guitar sound accompanied Beth Gibbons in their sung depression. Between every now and again a violent electric guitar and electronic dance.

Nylon Smile - The sound is quite demanding and indulges the listener does not break, it sounds like a mixture of jungle drums and breakbeat-like guitar sounds. Melody and vocals are cool, the end again relatively abruptly.

The rip - What starts as unpluggedartige ballad with acoustic guitar sounds, turns into a trance-dance Kracher of incredibly chillig then floats. The melody fits perfectly both soundscapes. Just awesome.

Plastic - The helicopter-like sound element is a bit annoying, but will used perfectly dosed. The chorus is egentlich nothing but a break like guitar / electronics Sound bunch is sometimes just drowned out by Miss Gibbons with a melody. Exhausting.

We carry on - Loud and fast monotony dominates the song. From the first listen, I was captivated and thrilled the title is easy to dance horny. The mixing of the synth elements with guitars and singing is just awesome.

Deep water - Extremely quiet, consisting of only the voice of the singer and quiet Zupfklängen. As a respite before the final thought, in my opinion, however, out of place on the album.

Machine gun - Extreme bass and synth breaks dominate the sound: loud, aggressive and on its own to listen quite difficult. But there is again Beth Gibbons, which brings a structure in the title with her voice and the brilliant melody. However, everything ends in a relatively long guy, who is a Elektronikgeschrammel only but sounds a bit gewönungsbedürftig.

Small - Light and dark beginning, almost moody and ponderous sound Portishead here. Then again, the contrast an almost endless jam session that sounds very electronic, then a return to the opening theme and a brief violent Finalgeschrammel. More difficult tracks.

Magic Doors - drums sound at its best to a sound element like a hurdy-gurdy and occasional piano deposits. This oblique mixture and the catchy melody spells the end again a highlight of the album, oblique sound breaks included.

Threads - time quiet and worn, sometimes violently and loudly. The contrasts are large at this conclusion title and be united again only of the sung melody. Unexpectedly and furious is the final.

Whether it makes much sense this album with the other Portishead compare that date back more than a decade I doubt. One can always and everywhere discover parallels if you want, but really compare, I do not know. However, what remains is the unmistakable voice of Beth Gibbons, the polarized as before. The fact is also that the music of Portishead is still not radio friendly and therefore not mass-compatible. And so they stay in a small but nice niche.