General
Article 1
Article 2
Article 3
Article 4
Article 5
Article 6
Article 7
Article 8
Article 9
Dummy
Article 1
Article 2
Article 3
Article 4
Article 5
Article 6
Article 7
Article 8
Portishead (album)
Article 1
Article 2
Article 3
Article 4
Article 5
Article 6
Article 7
Article 8
Article 9
Article 10
Article 11
Live
Article 1
Article 2
Article 3
Article 4
Article 5
Article 6
Article 7
Article 8
Article 9
Article 10
Article 11
Article 12
Article 13
Article 14
Article 15
Article 16
Article 17
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ALL STAR
Rating:6/10
Second-itis is a nasty disease, especially when your first album
was a breakthrough on so many levels, as was Portishead's 1994
debut Dummy. That work was essentially the brainchild of keyboardist/
producer Geoff Barrow, who recruited the reclusive- yet- emotive
singer Beth Gibbons to slink and float her voice over, under,
and throughout Barrow's dense film noir- inspired musical trip-hop
landscapes. Adding to the appeal was the fact that songs like
"Sour Times" and "Glory Box" also clicked
in the melodic department, obvious hits both.
So now, problem No. 1: How to top that, or even equal it? Problem
No. 2: In the intervening years, several bands have emerged with
the Portishead sound -- Hooverphonic, Sneaker Pimps, Olive, et
al -- and at least capitalized on the sonic ideas, if not quite
measuring up to Dummy's writing standards or Gibbons' anguished
delivery. Barrow and company clearly felt the need to reclaim
the title.
Sadly, as a result, Portishead feels forced in every way. The
band has now admitted in the press that they came to a screeching
halt for about a year while attempting to find the right approach
to this record, hitting a firm writer's block and even experiencing
what new member Adrian Utley terms their "dark period."
Sometimes that can lead to brilliance, but not here.
On too many of these songs, Gibbons' breathy voice is filtered
through distorted amps and such, too often sounding like she's
calling long- distance through a bad connection or whispering
through a megaphone. And that's just not necessary. Sure, they
wanted to push the sonic envelope, but more extreme is not always
the answer -- especially for a band that seemingly knew how to
thrust its nuances to the forefront.
More disturbingly, there are no standout songs here, although
that should not be surprising -- either in the historical sense,
given the usual rate of sophomore slumps, or given their announced
blockage. Perhaps they should have ended with the seventh track
here -- the aptly- named "Mourning Air."
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