Third

This album is so cool. What else sounds like this? It's bursting with ideas! To me this album has a clear point of view, it sounds like impending danger, like fear of the future. It's dark and anxious. I love it

If my anxiety had a soundtrack it would be this album. No thanks.

You're in for a real treat if you enjoy bleeding from your ears.

This album was boring. I like ambient beeps and boops, but these beeps and boops bored me

J'ai bien entendu toujours horreur de Portishead. Rien ne colle entre la voix, les instruments et la mélodie mais venons-en à l'essentiel. Vous savez probablement que la dernière mise à jour du générateur et sa fonctionnalité permettant de voir quels reviews étaient les plus "likés" du site a propulsé mon nom de robbelvédère en haut de l'affiche. Ma notoriété dépasse aujourd'hui très largement le cadre de ce site et il ne se passe pas un jour sans que l'on m'arrête dans la rue. "Robbelvédère ! Robbelvédère ! J'ai adoré ton review d'Abbey Road !" entendais-je encore ce matin. Et c'est là que ça coince. J'ai rappelé à la charmante demoiselle qui prononça ces mots que ma carrière ne se résumait pas à ce simple review et que j'en avais rédigé pas loin d'une cent-cinquantaine tous plus inspirés que les autres. Je me sens aujourd'hui comme doit probablement se sentir Jean-Marie Bigard quand on l'arrête dans la rue pour lui dire à quel point on aime son sketch de la chauve-souris. "Et mon sketch de la merde qui tombe dans la cuvette, c'est de la chiasse pour vous ?" doit sûrement penser l'intéressé. En bref, je vous conseille vivement de ne pas vous arrêter à mon "hit review" et de lire les autres avec la même attention.

One of few albums I've heard being so weird yet really pulling it off. Industrial, apocalyptic yet soft. 4.5 on first listen.

Triphop-a-riffic!

Music to play while you and your friends sneak into a graveyard in high school

Such a cool and unique sound, so much anguish. Every song can be interpreted differently by everyone. There are some very sweet moments like Deep Water. Singing isn't the most controlled, but contributes to their authenticity

Tough listen. Really hampered by the vocals. I'm sure there are people out there who are into this but it's so mopey and dark. The instruments aren't awful (albeit maybe a bit boring) but yeah, not great. 3.5/10 (1.75/5)

Has some significance as the soundtrack to a romance of mine many moons ago that died on its ass, but that doesn't make me any more disposed to accept the dreaminess they peddle so insistently as anything more than a cloak for emotional inarticulacy they find too expedient to grow beyond and lethargy they're too comfortable disguising with bursts of what appears to be energy but only because they build to it from a near stationary starting point.

Such a unique style. This album is like a soundtrack to a dark, confusing dream. A great application of electronic instruments to create a feeling of uneasiness.

A faixa inicial me surpreendeu, já que começa com uma fala em português. A banda é inglesa. Falava sobre a "regra dos três". Li que é de um capoeirista de Bristol. O som é incrível! A fala também. Várias experimentações sonoras. Rico demais.

i really like this damn sound. kind of free jazz pop music.

"Third" is the third studio album and first in 11 years from Bristol UK band Portishead. This is quite the intense listen. It was a move away from trip hop on their previous albums and influenced and incorporating Krautrock rhythms, breakbeats, cathedral, Morrocan drums, soft rock, doo wop and science fiction/horror soundtracks. I can attest to that; there is so much going on throughout this album. In a nutshell, it's experimental electronic music. The one constant is Beth Gibbons' vocals giving each song a mysterious feel along with the music. And, Portishead is Beth Gibbons, Geoff Barrow and Adrian Utley. Each band member seems to play every instrument at some point: various keyboards, dums and pecussion, bass, guitars and more. The album start with "Silence" and a Potuguese vocal sample and foreboding keyboards. Some sort of drum loop going on. Maybe about the Golden Rule. "The Rip" was the second single and begins with a weird acoustic guitar. The vocals are haunting and seem to be about a broken relationship. The music transitions with synthesizers coming upfront sounding like the "Stranger Things" intro music. The albums' second half has two more of their released singles. "Machine Gun" was the lead single and starts with a mechanical rhythm, definitely sounding like a machine gun, which eventually gives way and builds with synthesizers and keyboards. It has cryptic lyrics and appears to be another one about a broken relationship. Their last single " Magic Doors" has a weird drum beat beginning and background synthesizers which eventually come to the forefront. Beth Gibbons' vocals dominate the song and again have a mysterious, cryptic meaning...sexual orientation? depression? Every song is unique on this album; I think I could listen to this 20 times and find something different each time with everything going on. I found this album fantastic and recommend it to anyone willing to take a deep dive into experimental electronic music.

Talk about bleak... this seems like the perfect accompaniment to my increasingly frequent moments of despair. The lead singer ranges from worn to desperate accentuated with occasional banshee moments. Some highlights: “The Rip” has a lovely vocal performance and really wonderful synthesizers. I love this song. Ends in such lushness. “Deep Water” is an odd ukulele piece in the album that still felt strangely in place as the most positive-feeling song here. I like it. “We Carry On” is a fast, relentless song that may be the best option if you wanted to dance to something on this album. I loved it. The out of tune guitar strumming leads into a section where the song feels on the verge of flying apart, but I found it very satisfying when it did not. “Magic Doors” feels like one of the more personal feeling songs on the album. I love its odd beats, the accordion, and the vocal performance. What a brilliant song! “Threads” closes the album with the lyrics “I am one, Damned one, Where do I go?” It’s got quite an ending with a lone bellowing, evil horn. Chilling. Where their debut album “Dummy” was something I could listen to as I worked, “Third” might be a little too ominous for that. It has now been 14 years since this album was released. I don’t know if Portishead will ever release another, but it would be interesting to see where they go from this dark place. I was very unsure initially how I felt about THIRD. On the second time through it came together for me and I fell in love with this album. THIRD is exceptional - and perfect for the world I’m living in.

Absolutely love this album.

I completely forgot about portis

Fantastic album. Haunting and somber.

Familiar with Portishead's early material but never got around to this album. Happy to say it holds up for me, this will enter my regular rotation.

Talent at its finest

super chill hunter and the rip are bops

good songs

I’m on a train and some of the sounds in the album confused me bc I couldn’t tell if it was the song or the train. I think the combo of the instrumental and the voice is interesting and I like it.

Better than I remembered

Better than expected. A pleasant surprise with the vocals. Those melodies were cool.

I enjoyed it. Nothing stood out but it was soothing to listen to. Would give it another, more thorough listen, perhaps.

Didn’t enjoy the vibes of this one. Not my thing.

The singer sounds like a ghost Sounds like the type of music you'd hear coming from a dodgy nightclub. No thanks - avoid 2 ⭐️

Not for me

BAD.

This was the musical equivalent of prepping for a colonoscopy.

1.5

Album: Third Artist: Portishead Year: 2008 Album #: 300 (264 rated) first impressions: I feel like this is supposed to be an influential album and artist so...I was looking forward to it, but now I'm looking forward to the end. This just seems like if Radiohead decided to make songs without traditional structure and more synths and truly grating, mewing vocals. after listening through: the song "Plastic" is honestly one of the worst tracks I've listened to as part of this project; "Deep Water" is like, the origin story of the awful twee ukelele hiphop YouTube covers of the early 2010s? The rest is like, the Social Network Soundtrack mashed up with Kid A, but replaced with the vocals of the woman who sings at 8 am mass at my parents' church. post-reading reviews/wiki: ...did I listen to the same album people love? I guess I really just don't like Trip Hop. recommended for: someone who hates melody in their music and just wants.. slightly unpleasant noise.

Um

Reminded my Why I don’t like Portishead…

I never really knew why I never got into Portishead back in the day. Now I know why. I just could not get into this at all.

Strange and electronic, and not for me. Felt like it was tracks by Massive Attack but under LSD. Not much in the way of replay for me, and definitely not for my listening pleasure

Constant dissonance, depressive soft spoken and sometimes drifting out of key. Minor differences between songs. If you enjoy that, this is for you. But this was not for me.

Yeah this ain’t it

Discordant and tuneless. How the mighty fallen

Not a fan

Not my thing. At all. *Yawns*

Every song seems like a song that’s not even close to being done. Her vocals seem like placeholders and instrumental sections go on for too long with not enough change.

I never listened to this third album. Never knew it existed. I wasn't missing much. Don't like it.

Did not enjoy.

Creepy vibes, weird instrumentals, jarring transitions. I get what the album was going for, and it isn't enjoyable to listen to. Each song has a theme and they all suck. The music is painful to the ears, and the vocals sound stagnant and bland throughout. I thought maybe the premise alone would keep it from a 1 star review, but the longer it went on, the clearer it became that wasn't the case. I certainly won't be going back to this anxiety inducing melodrama anytime soon.

I can't for the life of me work out what the point of this is, let alone why it would appear on a list of albums I need to hear before I die. There's bugger all meaningful structure, no ups or downs, amazingly little substance and it's not particularly musical or even dissionant enough to raise an eyebrow.... it just exists. for 50min. Is anyone out there dull enough that they'd list this as their favourite album ever? Thank fuck I had a couple of other things on the boil while this played, because if I'd had nothing else to do I think I'd still be sitting there waiting for this to finish. What a boring, absolute non-event of an album. 1/5.

no

Do you remember that girl you noticed, The one in the city centre. She was dressed like Stevie Nicks meets Primark, In a crowed of 20 something olds. Shouting at a government with no general direction!. You walk up to this woman with your secret weapon of a medium Toffee latte from Costa. You pretend to care about what ever this collection of sandals are shouting about. You get woman’s name...it’s “Meadow” because why not. “Meadow” will go out for a drink but not for any old drink but for a drink to a little place she knows! . A little place with a band, a band filled with “Meadows” friends. You get to the underground bar literally..it’s a cellar in A 1960s St Katharine Docks ..Taylor Woodrow apartment redevelopment cellar. You sit with “Meadows” crossed legged on the floor, on a cushion, while an Ale in a jam jar is placed on the old cable drum table in front of us. As I start to feel out of place within the weed filled walls, Walls painted with that fidel castro silhouette all over ( because it’s 2009 and it’s original!...from the Gap ) I think even though “Meadows” looks the double of Mélanie Laurent, I can’t do this and her Ecology Degree I have to leave now before it’s too late. it’s too late. “Meadows” friends are on the turned upside down Biffa Bin stage. Celeste...Arlo & Ziggy are on!!! Celeste starts moaning like ET after too many drinks during a Quiet Man convention..Ziggy is kicking a broken wind chime & Arlo is banging his left nut on a burnt out old Tuna can with his woman’s Study’s degree. Just before I leave and go back to my natural resources consuming life, Drinking a Scotch and Back to searching for Tulisa from N-Dubs, “Meadows” informs me it is not about the music and it is about how it make you feel. I feel like Music is about the Music and I have to leave. This Albums makes me feel how you feel reading this about this album about how this Album makes me feel about Music or pretend to like Interstellar

It's hard to catch lightning in a bottle and so I don't expect this to be the same band that released the stellar 'Dummy' album, fourteen years prior to this. However, 'Third' is an album entirely unexpected. Expectedly, Third is cautious to retain the band's original sound, but also intent to show their evolution over elapsed time. Something most bands struggle with. Third is able to effortlessly integrate real instrumentation with the drum machines and sampled bits they're famous for. And the arrangements on Third have become more diverse, complex and sharper than anything on Dummy. Beth Gibbons' voice has become less the haunting echos and more overt Stockholm Syndrome while retaining a feeling of soft-immediacy. Third's expanse of darker themes has grown wider, weirder and unapologetic. Some of these tracks play most of the way through like beautiful performance art pieces only to be awkwardly interrupted without notice, just like you'd expect performance art to be. The album plays closer to a Blonde Redhead album of the same era than a Basement Jaxx or UNKLE album of yesteryear. Third is an album that defies category and shows Portishead is not afraid to change on their own terms and challenge the idea of confined maturity. Though awkward at times and seemingly disjointed on the surface, Third is worth exploring deeper and is an excellent evolution for the band that may overshadow their original release, Dummy.

This was a fun time with a lot of wacky sounds, exactly what I want from these guys, a little more beach housy than their earlier work which is very cool

Creepysexycool

Not quite as perfect as “Dummy”, but re-listening this time there’s so many tracks I love that I hadn’t really noticed before! So good, so good.

Let's go

This is what this list was made for. Obviously I've heard of Portishead, and know a few track (Only You is a banger), but I didn't even know they were still going in 2008. This record is superb all the way through. Favourite tracks: Silence (that abrupt ending is so jarring in a good way), The Rip (damn, what a song), Plastic, Magic Doors (damn, what a song).

Omg so good

Incroyable album, je pense que je l'ai vraiment préféré à Dummy (qui lui a été un tantinet sur-évalué de ma part). Définitivement à réécouter, un magnifique album. 9.5/10

Великий альбом великой группы, который, мне кажется, повлиял на миллиард артистов. Очень трудно выбрать любимую песню здесь. Лучшая песня - Machine Gun.

Brilliantly cohesive album. Couples ethereal atmosphere with insistent rhythms, sometimes throwing very 80s dark synth energy. Always great vocals and interesting lyrics.

Another classic from Portishead. I love the darker vibe on this album. It's a great spooky season listen.

Portishead is perhaps the best known group that made trip-hop, a term that the band helped define, even as the band was not crazy about being associated with the label. The band's work is a unique mix: Beth Gibbon's haunting vocals, atmospheric electronics, and slow-tempo, hip-hop rhythms. The result is haunting, lovely, and dark. Third is the band's third, and perhaps last, studio album. Like their other albums, it was very well received critically, and found some commercial success. Portishead isn't a band that had hit singles; while popular - to an extent - this is not "pop." This album seems to be better with repeated listens, but of challenging enough that many may not get to the second listen.

Overall: 10/10 I am incredibly hungover today (not a big drinker but I went to a halloween party) and I found this to be the perfect music for today. This is a very chill album with gorgeous, haunting vocals and interesting uses of different instruments. I've also been a big fan of Geoff Barrow's collaborations with Ben Salisbury on the films of Alex Garland so it was cool to see a different side of him! Update: For the first time since I've started doing this I've not only relistened to an album in the same day but I've now listened to this 4 times today and I'm blown away by it. I love finding a new favourite and this is easily the best discovery I've had with this list! Beth Gibbons may be an all-timer vocalist for me now. Fav Song: The Rip Least Fav Song: Deep Water (only because it's too short)

Great album.

Awesome, I'd forgotten how good this album is.

I loved this album. The Rip is a 5/5 song. I listen to plenty of portishead but this one came to me in later years and it was a gift. One morning I was in Seattle for work and my son, then 14, made me a playlist and sent it over with that song on it. I’ll never forget hearing it that way too. I just love this album.

Rating scale: 3 = Liked, won't listen again 4 = Liked, listened again for pleasure 5 = Liked, downloaded Might be benefiting from being good background music while working.

I wasn't so sure about this album at first based on the very first song, but it really ended up being a great album to listen to! Has a sort of melancholic and eerie vibe, but it all flows nicely from song to song. It's totally one of my favorite kinds of sounds in an album. My favorite songs are "Hunter", and "The Rip".

AYO really great stuff here. Gonna get back on this stuff now as callbacks are winding down but wow awesome stuff.

Atmospherice, dramatic, trippy, all up my alley. Big Portishead fan for a long time and this album is fantastic.

Portishead's ethereal trip-hop with an added splash of krautrock and industrial? Don't mind if I do! Fave tracks - "Silence" is a monster, "The Rip" is cinematic as hell, "We Carry On" is a beast, "Machine Gun" has long been a favorite. Awesomeness all round, really.

Their second best

Easily (and surprisingly) the best Portishead album and one of the biggest revelations on the list. Even though the best songs are from first album, this one is extremely solid and enjoyable. Different style than last two records, we have a more chilled, more trip, less hop. Basically electronica with few additional genres as a soundtrack to a trippy movie. Amazing album, will listen to again. And again.

Sepulchral, ominous, pessimistic, hopeless, down-in-the-mouth, overwhelming, daunting, charcoal-painted, tormented, fragile, layered with so many levels of darkness, haunted and haunting... How many adjectives can I pile up to express how much I love this record? Portishead was already a project worthy of this list by the mid-nineties, thanks to the immense success of their first two seminal albums, triggering a whole genre Beth Gibbons, Geoff Barrow, and Adrian Utley had actually not much interest in. Then, moving far away from "trip-hop", and after a somewhat long period where they felt creatively drained, Barrow and Utley joined their forces with the ever-moody and melancholic Gibbons again, and the result is this masterpiece. One that is to this day often misunderstood, sadly. *Subtly* ripping off rather obscure vintage acts such as The United States Of America or Silver Apples ("We Carry On" basically shares the same premise as "Oscillations" for its rhythmical pattern, for instance), Barrow offers Gibbons perfect jewellery cases for her rough diamond of a frail voice, her genius vocal lines, and her despondent lyrics. Drawing from a lot more of Krautrock influences this time around, Portishead thus manages to outdo its already iconic legacy. They might have lost some "casual" fans in the process, but to hell with them. *Third* is the one album in the Bristol band's discography that proves that trends and lucky strikes are not all that there is to make you fall in love with a band (again). The ever-cinematic soundscapes are various, but also uncompromising. The arrangements offer a treasure trove of unforgettable melodies for listeners unafraid of dark subject matters. Adrian Utley's electric guitar moans and winces like an injured animal licking its wounds. And the emotions expressed are so intense that *Dummy* and *Portishead* sound like The Verve or Spiritualized in comparison. Those albums are still perfect gems in their ephemeral genre, yes. But *Third* is the moment where the project reaches a whole other level for fans of all the styles used here. And as such, it is truly timeless, contrary to the band's other LPs. And the songs, goddamnit! Sure, some of them are impressionistic, so to speak, in keeping with narrators too crushed by life and failed love relationships to shake a leg again. But honestly, there are a vast majority of highlights. And they start with the long-winded-yet-fully rewarding opener "Silence" and its curiously lively rhythms, preceding the devastating entrance of Gibbons on the scene, soon backed by a sinuous string section. Yet the song is just an appetizer here. "Hunter" and its frantic, worried beeps ensues, then "Nylon Smile" and its echoey, chiaroscuro guitar lines. Stretching its delicate wings like a butterfly soon engulfed by the twilight, "The Rip" builds a carousel of emotions over its core melancholic arpeggios, leaving a moving imprint in your soul forever. A couple of tracks later, relentless "We Carry On" gnaws you just like life and old age do. After a sweet interlude, comes the other centerpiece, minimalistic "Machine Gun", where Gibbons' cries of wonder, pain and worry into the night contrast with a merciless electronic beat blasting your ears into oblivion. And when a suddenly luminous, John Carpenter-inspired synth line suddenly surges, it's as if frail sun rays pierced into the black clouds and the overcast sky at last. Not long after, surprise, "Magic Doors" actually *grooves*, thanks to its cowbell-addled drums and bouncy bassline. The song manages to make an accordion of sorts sound *good*, its chorus is an emotional rollercoaster, and the whole offers one glimmer of hope, barely dirtied by a short off-kilter free-jazz sax. Yet that ephemeral light soon gets covered by "Threads", probably the darkest composition ever penned by Portishead, WHICH SPEAKS VOLUMES. Beth's anguished cries towards its conclusion... I don't even have the words to describe such a hellish closer. *Third* is hands down Portishead's best LP, and the fact that a lot of people aware of its existence fail to see it (pussies!) only adds to its dark legacy. Here Gibbons, Barrow and Utley explored black pits where even The Cure, Bauhaus or Sisters Of Mercy feared to tread. A black diamond indeed. Number of albums left to review: 69 Number of albums from the list I find relevant enough to be mandatory listens: 402 (including this one) Albums from the list I *might* include in mine later on: 231 Albums from the list I won't include in mine: 299

I liked this one a lot! I might have to rate it a 5 just bc anything i listen to twice in one day gets a bonus star.

This album is so impressive on so many levels. It's a great album, and even though I love their first two, this one feels more modern to what music became after the initial trip-hop days. And, after 11 years since their second album, for them to make such an incredible follow-up is so impressive.

Very unique sounding album, We Carry On was amazing.

THIS IS WHY I LOVE THIS APP!!! Wow!!! This isn't going to be for everyone, but I loved it!!! I'd heard of the band, but hadn't 'listened" to them before. There is very much a bjork style to the band, and I love the haunting vocals and almost cinematic music.

En 2008 et après 10 ans de silence, sort le 3eme album de Portishead le bien nommé Third. Third est un album sombre et désespéré, âpre et puissant avec une rythmique, froide, artificielle et presque industrielle. Une rythmique qui entre en dissonance avec la voix éthérée et fragile de Beth Gibbons. Third est un album poétique et très inspiré, il faut d’ailleurs noter la cohérence et l’homogénéité de ce disque qui a pourtant été enregistré sur trois ans par des musiciens qui n’avaient pas joué ensemble depuis six années. Third est un chef d'œuvre à écouter et réécouter en attendant un possible 4eme album. Un 4,5 sur 5 soit un beau 5

Grabs my attention at the very outset. V. strong start. Yeah, that's an absolute cracker of an opener. And then - BANG - into track 2. Jolted me out of my groove. Track 2: totally different mood, with jarring breaks, but those breaks serve to complement the "main" theme, and to return to it is very welcome. Another great beat to kick off track 3, after a gentler finish to track 2. Gentler groove here, too. The vocals here are almost just an ornament - but a very welcome one. Nice and easy start to track 4 leads into a lovely mellow groove, with somewhat more prominent vocals. Another cracker. We're going slightly up tempo here (in spots!) for track 5 - with some unsettling drum fills. Are they played backwards? Wonderful vocals again. Somewhat more hypnotic here in track 6. Track 7: What an odd mood here. What odd instrumentation. The first track on which Gibbons's voice gets the prominence it deserves. Back to a somewhat more electronic sound on track 8. And the name of the track makes perfect sense. Low point of the album so far. Softer intro again here on track 9, with those wonderful vocals shining again, in ultra-soft mode. Shame they couldn't maintain that mood all the way through. Another very abrupt finish. Very experimental sound here on track 10. Nice laid back start here to the closer, but I'm not fooled. This could go anywhere. Hmmm... It didn't. It dipped somewhat in the middle, became rather generic - but it saved itself at at the end.

Amazing

Dystopische, intense, alternatieve rock met triphop invloeden. Een combinatie van geluiden die je zowel in slaap hypnotiseren als weer bij kennis beuken. Geluidjes en/of patronen die vaak net even te lang doorgaan, waardoor ze vroeg of laat indruk gaan maken. Bij "Deep Water" krijg je heel even rust om vervolgens bij de track "Machine Gun" weer industrieel gedreun op je hersenpan te krijgen. Die track is qua klankkleur misschien wel één van de donkerste, koude tracks uit deze lijst. Aan het einde wordt het album met "Threads" op een perfecte manier afgerond met die soort scheepshoorns die je na een uitgebreid saluut alleen achterlaten in het donker. Geen album om elke dag te luisteren en ook op feestjes zet je deze niet op, maar wel een dijk van een album. Wat een dikke, gelaagde productie waarbij elk geluid tot in de perfectie gemasterd is. Doe jezelf een plezier en luister deze op een goed geluidssysteem of enigszins degelijke koptelefoon. Ik ben echt bizar enthousiast hierover. Ik heb het album inmiddels al 2 keer geluisterd en sommige tracks los nog een paar keer. Niveautje Mezzanine, oftwel 5 sterren.

Still great

After an 11-year hiatus, Portishead re-emerged triumphantly with Third. Although triphop had been dead and buried for many years, the group succeeded in bringing it back to life with influences from musical trends in the 00s - the record is decidedly indie at times with plenty of elements from noise and industrial. It seems Beth Gibbons also spent the previous decade listening to Björk, and the added complexity to her incredible voice fits the album perfectly. 'The Rip' and 'Magic Doors' are just unreal.

drifting into HEALTH territory

Never listened to Portishead before and I greatly enjoyed it. I went back through their discography after listening because I liked it so much. After listening to their first 2 albums as well, I don’t really hear this as a departure of their sound. Still great stuff though.

Always been meaning to check more of Portishead out. This did not disappoint really liked this one.

This is also one of my favorite albums. Machine Gun is my most beloved song on here.

I will trip hop all day.

Imagine a band making two albums that defined a genre, disappearing for 11 years and then coming back with a completely different sound. Few bands could pull that off quite as well as Portishead. 'Third' is a haunting Krautrock and soundtrack inspired record that throws their trip hop roots to the winds. And it works, largely with the help of the flawlessly beautiful voice of Beth Gibbons. She sounds equally strong and vulnerable and it compliments the nervous droning of the music, as well as providing relief from it. If only Portishead would ever give us a fourth one.

Great comeback album - strange, industrial and yet true to Portishead

god please don’t let it be their last…

Really imteresting!

After being very enthusiastic about Dummy and Portishead, I was very pleased to hear that there was to be a new album, Third by Portishead. I quickly bought the album. However, I was disappointed when I heard it. The trip-hop I was expecting was not played. Yes, I thought, not bad, but I prefer the previous stuff. And so I put the album aside and didn't listen to it again. As part of this project, I listened to it again and have to admit that I did the album an injustice. It is great. In fact, it's no longer trip-hop. It's different, more experimental. In the first track in particular, I like the disharmony and arythmia at the beginning, which then dissolves. I also really enjoyed the surprising endings. A nice contrast to the multiple fade-outs. Really great.

Dreamy and melancholic, this one hit all the right spots. I like the atmospheric instrumentation and the overall vibe

Two albums in a row called Third

Great!!!!!

Favorite YET!

Trip hop classic

Maybe the apex of trip-hop. Solid songwriting and exquisite production from beginning to end. The weakest songs on here are still really good.