Portishead

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Editorial reviews

Amazon.co.uk Review
With Dummy, their 1994 debut, Portishead not only created a classic of turntable-derived soul, but defined their sound so exhaustively as to spawn a host of imitators. So what to do for a follow-up? As it happened, the answer was simple--refine the template. This self-titled album simply ups the ante on everything that made their debut so special: the brooding sense of menace, that deep streak of romantic fatalism. Much is made of the cinematic quality of Portishead's music--and indeed, many of these tracks sound like they should be accompanying some existentialist spy flick from the mid-1960s. But ultimately, it's singer Beth Gibbons that's their greatest asset: her vocals gliding effortlessly from the furious ("Cowboys") to the forlorn ("Mourning Air"); from the exuberant ("All Mine") to the exhausted ("Only You")--and all set to the group's most ambitious and expansive arrangements to date. A majestic, damaged and frequently terrifying masterpiece. --Andrew McGuire

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Customer reviews

review by: Dirtchamber date: 2006-11-02 rating:
The Genius of the Portis'
Totally amazing, one of the greatest albums ever made. Dark, brooding, with awesome scratching, beautiful and unsettling singing and, in my opinion, superior to Dummy. Love driving at night or smoking at home to this absolute classic. You'd be a fool not to hear it.

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review by: themurphia date: 2006-03-11 rating:
Second album blues...
If this had been Portishead's first album, everyone would be raving that it was the greatest thing that ever happened in early nineties music. It wasn't and people aren't. And while there aren't quite the high points of Dummy - Like Sour Times, Roads and Glory Box, I think this second offering is more consistent than the debut. All Mine, Over, Only You are all fine songs. It's claustrophobic and classy, it's blue and brooding. I wish Beth Gibbon would sing more, she has quite an amazing voice. Portishead rock. Please can they release something again soon?

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review by: ea_solinas date: 2006-01-18 rating:
Trip-hop noir
Portishead created a unique sound in their debut "Dummy," combining smoky jazz and trip-hop. So an equally good follow-up was a pretty tall order. Enter the self-titled "Portishead," which ups the eerie noir feel while not abandoning the cool electronic edge. In the months before their return, it seems appropriate to revisit their older material.

"Did you feed us tales of deceit,/Conceal the tongues who need to speak?/Subtle lies and a soiled coin,/The truth is sold, the deal is done," Beth Gibbons intones, sounding like a slightly gleeful robot. That sets the tone for "Portishead," giving it a darker tone than its predecessor -- darker songs, darker vocals, darker music.

The jazz overtones are still there, bubbling up in songs like the distant "Over" and "Seven Months," which sounds strangely like fellow trip-hop artist Emiliana Torrini. Only the downtempo "Over" and softly poppy "Western Eyes" break from this cooler sound, sounding warm and unaltered. The rest of the album is a different story.

Somehow it adds to the noir atmosphere to have darker, colder sounds woven in with the jazzy trip-hop. "Humming" includes a strange background beat that sounds exactly as you would imagine a UFO. This dark, experimental edge makes it a bit harder to get into than their debut album, but when you do get into it, it's almost frighteningly intense.

The jazzy percussion is one of the first things you notice about this, paired with horns and thick synth. It's surprisingly heady to listen to. Also cold and distant -- which seems appropriate, since the simple lyrics focus on loneliness, melancholy, sadness and loss ("Why should I forgive you,/After all that I've seen,/Quietly whisper,/When my heart wants to scream?").

Beth Gibbons plays around with her vocals this time around -- while Gibbons's voice is normally very pretty, in a few songs she twists it into creepy monotones. It's a bit jarring at first, compared to her usual melodic singing, but it suits the darker songs here. The filtered, eerie intonations in "Cowboys" are downright spine-chilling.

Portishead, presently working on their long-awaited third album, made a triumphant second album. While not as easily accessible as their debut, it's definitely an entrancing experience.

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review by: samba_riba date: 2004-01-31 rating:
eek
Until I heard this, I thought Dummy was the best triphop album I've ever heard. With this album, Portishead have taken all the dark energy and searing emotion from the previous work and amplified it to the point of agony. It's impossible to imagine how Portishead-Portishead could ever be improved upon; perhaps the band peaked too early. This is a classic in its genre, taking the listener on a intimate ghost-train ride through the darker side of the human psyche. My favourite track is Elysium. It plods along, dark, cynical and unstoppable, then falls into a gentle trough which lulls and relaxes the listener. When the main dirge and evisceral vocals kick in again, it makes me want to hide in the cupboard. I love this album. Only downside - the singer's Shirley Bassey impressions are a little shrill. Tweeters everywhere beware...


review by: knitwit date: 2004-01-08 rating:
Dark, devine and deviously impelling
Although a little bit more 'experimental' than the "Dummy" album (1994), it still creates an atmosphere are sheer devine feeling. The silky tunes and lushious mixing on the tracks, gives the album a sexy touch. Beth Gibbons voice is absolutely gorgious, some would say its piercing, but its pierces the heart not the ears. I've heard songs from this album being played on fashion websites and catwalks. It definately invigorates moods of utter-most sensuality, perfect for any romantic night in! If you enjoyed "Dummy", I'm sure you won't be disappointed!

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