This is what you came up with, Portishead?

Last week, I got an advance copy of Portishead’s upcoming release, “Third” and have been struggling to get through the album. Due for a 29 April release in the US, this 11-track showcase of darkness leaves me wanting more. Where the hell are the hooks in these songs? Beth Gibbons’ unmistakable sound is there, but the instrumentation has moved on in a new direction since their previous two studio recordings. “Silence”, the lead-off track, makes promises for the rest of the album but it never quite delivers. It’s followed by a very Mazzy Star-esque “Hunter”… it’s all very somber and chilling as we’d expect, but given the decade that the group has had to (potentially) create these songs, I am disappointed and frustrated.

I haven’t seen writing or musicians’ credits for “Third”, but I cannot help but think of Pink Floyd’s last studio offering, “The Division Bell”, which required some 409 writers to collaborate to “create the ‘Pink Floyd’ sound”. Yeah, that’s meant as some damning praise. (OK, it wasn’t 409… but there were a lot of people involved.) More recently, there was Massive Attack’s 2003 album “100th Window”, which had fallen on ears accustomed to the dark sounds of “Mezzanine” and Tracey Thorns’ unforgettable contributions to “Protection.” It was a fairly significant departure, perhaps due to the absence of long-time member of Grantley Marshall.

To this listener, the difference between Portishead’s sophomore effort and this one is just as significant. (The distinction is in the instruments and not the singers as Sinead O’Connor hasn’t replaced Gibbons.)
I’ll see if I can follow this up with something further and more encouraging. In the meantime, spin “Roseland NYC Live”, their last release, for a proper visit with P’head.

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