TripHop is dead, live Portishead

1994 laid Portishead with its grandiose debut "Dummy" the blueprint of a new style before. A previously unheard mix of old plates samples, heavy beats and -Thanks Beth Gibbons' todtraurigem singing permeated by a deep melancholy, as she has never put forward the electronic area. The journalists created quickly the drawer "Bristol sound" or known "trip hop", because of the mixture of hip-hop beats and hypnotic sounds difficult.
The recipe was created in 1998 further served with the self-titled successors - but not more. That should not happen, were Gibbons, Geoff Barrow and her partner now a fully-fledged band member made guitarist Adrian Utley.

And so it was after the interim live release "Roseland NYC" halt a few years until Portishead would release a new album in the world. "We had agreed at the beginning that we embark on the search for a new vocabulary at the end of an album to be, that would so none of us expected. It should sound completely by us without even the sound detail to something remember what it already gave us, "said Utley says in VISIONS interview. And that is successful, it can actually even go out due to the fact that "third" is really appeared ten years after its predecessor.

The initial contact was really sick single "Machine Gun": A distorted e-drum, Beth usual plaintive vocals, only at the very end a few individual synth sounds - nothing more. An inaccessible chunks. "Third" then makes full length by expectations built up again destroyed by it has become surprisingly nice. Although it -straight still manufactured from extremely wide sound is outside.
The songs heard sometimes abruptly, are thoroughly enriched with slanted guitar sounds on the border of pure sound, the drums sound broken and lo-fi, the Beats stumble asynchronously, the song structures are abundant unconventional. The electronics tray can undergo the same time, the album sounds as timeless and analogy may sound nothing hip thanks to the electronic instruments and samples used. Moreover spirits as associations at best, experiment-heavy bands from the indie sector as Sonic Youth (yes !!!!) or dEUS through the head.
And then the Beats: "Third" no bangs and often does not even need Beat. Her trademark was killed ruthlessly. "If one was something sounds 'too triphop', it was immediately deleted," said Utley. So does "Third" everything is different, sometimes even comes unusually fast therefore.
And that is of course still no summer music - still have to describe some songs as the most accessible and most optimistic so far. "Deepwater" about, sung to a ukulele.
And unlike the homogenous previous works each has its own character. Because is happening in each something new, which has not only nothing to do with the previous band work, but also on the album unique.
The extreme wealth of variants makes "Third" the best Portishead album. Point.

Reinventing is so successful. Portishead are there not only back, they are better than ever. They are opposed to each drawer, are always there, where no one and touch and inspire others. It's great that there is such a thing.