Review Summary: Leitmotif.
"Third" is my favorite Portishead record. I get tons of criticism when I assume such thing like I was inciting an illegal revolution or affirming blasphemy towards every single Portishead fan out there, but "Third" is that good of an album to the point it overcomes one of the pinnacles of an entire music genre: "Dummy". Alright, let's give it to the latter as it definitely is iconic and fantastic in its own right, but while it is definitely the most representative and characteristic record in Portishead's consistent and brilliant discographical catalogue, "Third" exceeds the trip-hop highlight in every single aspect possibily conceivable. There are no trance-inducing lullabies, boom-bap influenced beats or flexible samples on "Third", but a band merging into their own and originating a musical catastrophe that probably stands as modern trip-hop's definitive transcending moment. While "Dummy"'s production is crystal clear and resonating, "Third"'s lo-fi mixing can make one feel inevitably submerged in the deepest, most grim and gruesome corners of a raging ocean. If "Dummy" represents an allurement for giving the listener a chance to lay back and relax to the sound of seductive and mesmerizing soundscapes, then "Third" is the musical personification of wreacking havoc, never failing to keep the listener on the edge of his/her seat.
"Dummy" aside, "Third" pretty much takes the crown in trip-hop music as a whole for not only ascending to the top of the Bristol music chain but for completely transcending it and blowing it out of the water. Take the opener "Silence" for an example of the mixed bag of sacred influences that Portishead throw to the table with "Third". Brazillian spoken-word meets krautrock meets ethnic music meets every single other musical pallet Portishead's heart takes them to in a mess of a track that is as gorgeous as it is chaotic. The frightening and equally bewitching "Hunter" gives the listener a glimpse of a dreamscape that would fit nicely into "Dummy" if it wasn't so wretched, dark and distorted this time around.
"Third" has got it all. The subtleties that have always made Portishead such an outstanding band are evident on the creeping "Nylon Smile", on the magically innocent short-song that is "Deep Waters" and on gorgeous album highlight "The Rip". The brooding and tension-inducing build-ups found on many-a Portishead song are emphasized to the max on stellar tracks like "Plastic" and "Small". But despite showcasing that Portishead are still in touch with their essence and still managing to keep their trademark musical aspects, "Third" also is a berzerk of a record that contemplates a legendary band bringing something new to the table, which is melodramatic sonic madness to be found on the stomping industrial grooves of "We Carry On", on the mechanical and overwhelmingly dark monster of a track that is "Machine Gun" or on the mischevious, powerful and explosive turning point that is the climax on the probable greatest song on Portishead's catalogue that is "Third"'s closing track, "Threads".
Beth Gibbons always has been a self-doubting and depressed woman, but never had she hit rock bottom like she does throughout "Third"'s 50 truculent minutes of length. "Third" manages to be overwhelmingly destructive to the point of driving the listener into actually feeling pity and compassion for the frail and broken character that the frontwoman represents. However, Beth's unshakable melancholy and extortionate feelings of rage and frustration managed to conceive an entire freak-show of pure, overbearing, nefarious and dark-as-men sadness. Analogically comparing Portishead to Radiohead, "Dummy" stands for the infamous and widely acclaimed "OK Computer" as "Third" stands for the sovereign and unmatchable "Kid A". "Third" is a miraculous happening that we can always return to and slowly watch unfold by playing it over and over again. "Third"'s content contains every little bit of blasphemy to be found on a record and it couldn't be handed to us on a more pleasing, psyching format.
