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Third is the third studio album by the English electronic band Portishead. It was first released on 28 April 2008 in the United Kingdom by Island Records and a day later in the United States by Mercury Records. Portishead's first studio album in eleven years, it moved away from the trip hop style they had popularised, incorporating influences such as krautrock, surf rock, doo wop, and the film soundtracks of John Carpenter.

Third was named one of the best albums of 2008 by several publications. It entered the top ten of several countries' music charts and has Gold certification in the UK.^[1]

• 8Charts and certifications

Background[edit]

In 1998, following three years of tours and a divorce, drummer and songwriter Geoff Barrow put Portishead on hiatus and went to Australia. He told Drowned in Sound: 'I couldn't find anything I liked musically in anybody, in anything.' Portishead guitarist and keyboardist Adrian Utley joined him to work on new material, but they were not satisfied with the results.^[2]

In 2003, Barrow wrote 'Magic Doors', which he described as 'an opening ... then we ended up going back and forth, hating everything and then liking everything, and we had to decide whether to carry on.'^[2] He and Utley co-produced the 2005 Coral album The Invisible Invasion. The process proved inspiring, as according to Barrow, 'here’s me and Ade, these older dudes, too scared to even play a note because we were scared we'd hate it, and there’s them, just being able to write a soundtrack in an afternoon'.^[2]

Recording[edit]

Portishead self-produced Third in their Bristol studios. Many of the songs existed for years as sketches, with the members exchanging recordings and adding ideas.^[3] By 2006, Portishead had prepared six or seven tracks. Barrow said most of the record was written during a 'spurt' at the end of 2007.^[2]

Wanting to move away from the trip hop sound they had popularised, Portishead avoided using instruments they had used before; Barrow said 'the basic thing was to sound like ourselves, not to repeat ourselves'.^[4] The band members experimented with swapping roles; Barrow played bass, and singer Beth Gibbons played guitar on 'Threads'. Utley said Portishead were 'looking for limited frequency in instruments ... limited playing, too. I pursued virtuosity for many years, learning scales and harmony, and being able to improvise through scales and chords, but technique isn't important for me any more.'^[3]

For the first track, 'Silence', Barrow initially sampled a record that had a spoken-word Portuguese introduction. Inspired by a Wiccan theory about the number three, the band wrote a 'manifesto', had it translated into Portuguese, then recreated the sample with the new words to introduce the album. The band did not synchronise the guitar's delay effect with the song's tempo, creating harsh, asynchronous echoes.^[3]

Portishead used several analogue synthesisers, including a Minimoog,^[5]Korg MS-20, ARP 2600, Siel Orchestra and VCS 3,^[3] and a clavioline, an electronic keyboard that predates the synthesiser. For 'Threads', the band used the 'evil' detuned sound of the VCS 3 to create a foreboding horn-like sound, inspired by the English progressive rock band Hawkwind.^[3] The Siel Orchestra's sequencer was not sophisticated enough to play the arpeggios in 'The Rip', so the band recorded the notes individually and edited them into an arpeggio pattern. The track also features a toy acoustic guitar Utley found in a junk shop.^[3]

'Deep Water' was inspired by Steve Martin's performance of 'Tonight You Belong to Me' in the 1979 film The Jerk.^[3] Utley was initially unimpressed with Barrow's concept for the song, and said: 'I couldn't get with it at all, didn't like it. Geoff said he wanted to put these backing vocals on it, and I said I was having nothing to do with it. We didn't argue, I just conceded on that. But now I really quite like it, and the funny thing is Geoff is moving the other way on it.'^[3]

To create the rhythm in 'Machine Gun', Portishead sampled the drum machine in an old electronic organ. The synthesiser outro was inspired by the film soundtracks of John Carpenter.^[3] For 'Magic Doors', the band added hurdy-gurdy, and saxophone played by Will Gregory of Goldfrapp. According to Utley, 'we made [Gregory] be a free jazz player that day ... we told him just to go fucking mad, to freak the fuck out. He had to move out of the room, so we couldn't see him, so he'd feel less inhibited.'^[3]

Music[edit]

Described as an electronica,^[6]experimental rock^[7] and psychedelic rock record,^[8]Third departs from Portishead's trip hop sound, the genre they had popularised with their albums Dummy (1994) and Portishead(1997).^[9][10] It also contains no turntable scratching, a hallmark of their earlier albums.^[9] Gareth Grundy of Q wrote that 'Third's sole link with the past is Gibbons' voice ... Everything else has been binned, the hip hop, the cinematic feel, the lot.'^[11] Instead, the album contains 'muscular' synthesisers, drum breaks and abrupt endings, with 'propulsive' krautrock rhythms,^[12]break beats, cathedral organ, 'Moroccan drones' and surf rock.^[13]The AV Club wrote that singer Gibbons 'sounds more hollowed-out and harrowed than ever, a human nervous twitch on too much coffee and too little sleep'.^[9]

The opening track, 'Silence', has a 'propulsive' drum loop and 'Morse code'-like guitar.^[14] 'We Carry On' has a 'claustrophobic' two-note electro riff; Rolling Stone likened the track to the work of the American psychedelic band Silver Apples.^[13] 'Deep Water' is a 'ukulele doo-wop'.^[12] 'Machine Gun' is driven by a 'mechanical rhythm' that gives way to synthesisers which Drowned in Sound likened to the soundtracks of the 1980s films The Terminator and Blade Runner.^[14] 'Magic Doors' features 'huge' piano chords, 'tick-tocking' cowbell, and 'corrupted' brass.^[14]

Release and promotion[edit]

Third was released on 28 April 2008 on Island Records in the United Kingdom,^[15] 29 April Mercury Records in the United States,^{[citation needed]} and 30 April on Universal Music Japan in Japan.^{[citation needed]} It entered the UK Albums Chart at #2^[16] and the US Billboard 200 at #7, becoming Portishead's highest US chart debut, selling 53,000 copies.^[17]

On 8 and 9 December 2007, Portishead curated the All Tomorrow's Parties festival in Minehead, England, and performed their first full sets in nearly 10 years, including tracks from Third.^[18] On 21 January 2008, Portishead announced a European tour to support the album,^[19] with a headline spot at the Coachella Valley Music and Arts Festival on 26 April 2008,^[20] their only US date on the tour.

On 21 April 2008, a week before its release, Third was made available as a free stream on Last.fm, attracting 327,000 listeners in 24 hours. It was the first time Last.fm had made an album available before its release.^[21]Third was the fifth-bestselling vinyl record of 2008, selling 12,300 copies.^[22]

Reception[edit]

At Metacritic, which assigns a weighted average score out of 100 to reviews and ratings from mainstream critics, Third has a metascore of 85 based on 38 reviews, indicating 'universal acclaim.'^[23]

In his review for AllMusic, Stephen Thomas Erlewine said Third was 'genuinely, startlingly original' and 'utterly riveting and endlessly absorbing'.^[7]The A.V. Club's Michaelangelo Matos wrote that 'nearly every track provides some little sonic goody midway through as a reward for continued attention after all these years. For once, it's worth the effort.'^[9] Reviewing Third for Drowned in Sound, Nick Southall wrote that 'several individual songs drift by almost unnoticed at first, contributing little more than a sense of unease to the collective memory of the album; an impression of oppression. Those numbers that do stand out, though, drag the record close to magnificence.'^[14] John Payne of the Los Angeles Times wrote: 'Though several doses of this languid, tension-filled music get a tad draining, taken altogether it is a suitable sound for our troubling times, and there's an invigorating mysteriousness. Its blaring electronic peals are a wake-up call.'^[24]Guardian reviewer Jude Rogers found that the album 'is initially more a record to admire than to love ... But after several listens, Third's majesty unfurls.'^[12]

Louis Pattison of NME wrote that Third was 'adventurous, sometimes dauntingly so – but seldom anything less than compelling' and declared it 'Portishead's best album yet.'^[25]PopMatters' Alan Ranta wrote that 'history will eventually see it rank on par with the rest of [Portishead's] legendary works'.^[28]Pitchfork's Nate Patrin awarded the album the website's 'best new music' accolade, writing that it was 'a staggering transformation and a return to form that was never lost, an ideal adaptation by a group that many people didn't know they needed to hear again.'^[8]Rolling Stone magazine's Rob Sheffield found Third to be 'an unexpected yet totally impressive return',^[13] and Mike Bruno of Entertainment Weekly said it was a 'less immediately accessible effort than Portishead's more groove-oriented earlier work, but it's no less gorgeous.'^[10] Gareth Grundy of Q gave the record three stars out of five and was disappointed that Portishead had moved away from their earlier sound, writing: 'Third will probably be more admired than listened to ... Dummy was a challenging record that just happened to find an audience. Third merely turns up the black until the darkness is overwhelming.'^[11]

Third was named the best album of 2008 by PopMatters,^[29] second best by Pitchfork,^[30] ninth by the Guardian,^[31] and 25th by the NME.^[32] It was included in the 2014 edition of 1001 Albums You Must Hear Before You Die.^[33]

Track listing[edit]

All tracks written by Geoff Barrow, Beth Gibbons and Adrian Utley except where noted.

Personnel[edit]

As per the liner notes:

• Beth Gibbons – vocals, keyboards, electric guitar on 'Threads'
• Geoff Barrow – drums, keyboards, synthesizer, bass guitar, percussion, programming
• Adrian Utley – electric guitar, acoustic guitar, bass guitar, ukulele, keyboards, synthesizer, programming
• Charlotte Nicholls – cello on 'Silence' and 'Threads'
• Claudio Campos – spoken intro on 'Silence'
• Wendy Bertram – bassoon on 'The Rip'
• Team Brick – clarinet on 'Plastic,' vocals on 'Deep Water'
• David Poore & Ben Salisbury ('the Somerfield Workers Choir') – vocals on 'Deep Water'
• Will Gregory – saxophone on 'Magic Doors' and 'Threads'
• John Baggott – rhodes piano on 'Magic Doors'
• Stu Barker – hurdy-gurdy on 'Magic Doors'
• Clive Deamer – drums on 'Threads'
• Jim Barr – bass guitar on 'Threads'

Charts and certifications[edit]

Portishead Third Zip Rar 7z

Release history[edit]

Portishead Third Zip Rar 7z File

Third has been released in various formats.^[7][28]

See also[edit]

References[edit]

1. ^ ^ab'BPI > Certified Awards > Search results for 'Portishead' (from bpi.co.uk)'. Imgur.com (original source published by British Phonographic Industry). Retrieved 16 July 2016.
2. ^ ^abcdDiver, Mike (2 April 2008). 'Portishead discusses Third'. Drowned in Sound. Retrieved 3 January 2015.
3. ^ ^abcdefghijForrest, Peter (November 2008). 'Adrian Utley: Recording Third'. Sound on Sound. Cambridge, England: SOS Publications Group: 32–40. Retrieved 11 August 2014.
4. ^Pareles, Jon (13 April 2008). 'After a Decade Away, Portishead Floats Back'. The New York Times. New York City, USA: Arthur Ochs Sulzberger, Jr. Retrieved 12 August 2014.
5. ^'Portishead's Adrian Utley and his EMS VSC3'. When I Heard You. Retrieved 30 March 2016.
6. ^Robinson, Jon. Portishead – Third, Uncut. Retrieved 27 April 2015
7. ^ ^abcdErlewine, Stephen Thomas. 'Third – Portishead'. AllMusic. Retrieved 9 May 2008.
8. ^ ^abcPatrin, Nate (28 April 2008). 'Portishead: Third'. Pitchfork. Retrieved 12 March 2012.
9. ^ ^abcdeMatos, Michaelangelo (28 April 2008). 'Portishead: Third'. The A.V. Club. Retrieved 5 December 2014.
10. ^ ^abcBruno, Mike (18 April 2008). 'Third'. Entertainment Weekly. Retrieved 12 March 2012.
11. ^ ^abGrundy, Gareth (May 2008). 'Review: Portishead – Third'. Q. London, England: EMAP (262): 131.
12. ^ ^abcdRogers, Jude (25 April 2008). 'Portishead, Third'. The Guardian. London. Retrieved 12 March 2012.
13. ^ ^abcdSheffield, Rob (1 May 2008). 'Third'. Rolling Stone (1051): 80. Retrieved 12 March 2012.
14. ^ ^abcdSouthall, Nick (16 April 2008). 'Album Review: Portishead - Third'. Drowned in Sound. Retrieved 5 December 2014.
15. ^'iTunes – Music – Third by Portishead'. iTunes. 27 April 2008. Retrieved 12 January 2012.
16. ^'PORTISHEAD - Artist - Official Charts'. Retrieved 18 April 2014.
17. ^Hasty, Katy (7 May 2008). 'Madonna Leads Busy Billboard 200 With 7th No. 1'. Billboard magazine. Retrieved 7 May 2008.
18. ^Review of December 2007 ATP showsArchived 14 January 2009 at the Wayback Machine StrangeGlue.com. Retrieved 27 December 2007
19. ^Portishead announce 2008 tourNME. Retrieved 27 January 2008
20. ^'Coachella lineup'. Coachella.com. Archived from the original on 13 December 2007. Retrieved 22 January 2008.
21. ^'Portishead fans flock together for early album stream'. Side-line.com. 1 May 2008. Retrieved 4 June 2011.
22. ^'FACTBOX: How vinyl record sales stack up'. Reuters. 8 December 2009. Retrieved 3 December 2017.
23. ^ ^ab'Reviews for Third by Portishead'. Metacritic. Retrieved 12 March 2012.
24. ^ ^abPayne, John (29 April 2008). 'Mysterious sounds echo forth'. Los Angeles Times. Retrieved 12 May 2016.
25. ^ ^abPattison, Louis (26 April 2008). 'Portishead: Third'. NME: 35. Archived from the original on 4 March 2016. Retrieved 12 March 2012.
26. ^Walters, Barry (May 2008). 'The Party's Over'. Spin. 24 (5): 93. Retrieved 24 February 2016.
27. ^Mulvey, John (26 April 2008). 'The Big CD: Portishead – Third'. The Times. London. Retrieved 12 March 2012.
28. ^ ^abRanta, Alan. 'Portishead: Third < Music PopMatters'. PopMatters. Retrieved 9 May 2008.
29. ^PopMatters Staff (18 December 2008). 'The Best Albums of 2008'. PopMatters. Retrieved 8 December 2014.
30. ^'The 50 Best Albums of 2008'. Pitchfork. 19 December 2008. Retrieved 5 December 2014.
31. ^'50 albums of the year'. The Guardian. Guardian News and Media. 7 December 2008. Retrieved 5 December 2014.
32. ^'Best Albums of 2008'. NME. IPC Media: 17–31. 13 December 2008. Retrieved 5 December 2014.
33. ^Robert Dimery; Michael Lydon (2014). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN0-7893-2074-6.
34. ^'Australiancharts.com – Portishead – Third'. Hung Medien.
35. ^'Austriancharts.at – Portishead – Third' (in German). Hung Medien.
36. ^'Ultratop.be – Portishead – Third' (in Dutch). Hung Medien.
37. ^'Ultratop.be – Portishead – Third' (in French). Hung Medien. Retrieved March 5, 2008.
38. ^'Portishead Chart History (Canadian Albums)'. Billboard.
39. ^'Danishcharts.dk – Portishead – Third'. Hung Medien.
40. ^'Dutchcharts.nl – Portishead – Third' (in Dutch). Hung Medien.
41. ^'Portishead: Third' (in Finnish). Musiikkituottajat – IFPI Finland.
42. ^'Lescharts.com – Portishead – Third'. Hung Medien.
43. ^'Longplay-Chartverfolgung at Musicline' (in German). Musicline.de. Phononet GmbH.
44. ^'Greekcharts.com – Portishead – Third'. Hung Medien.
45. ^'Italiancharts.com – Portishead – Third'. Hung Medien.
46. ^'Mexicancharts.com – Portishead – Third'. Hung Medien.
47. ^'Charts.org.nz – Portishead – Third'. Hung Medien.
48. ^'Norwegiancharts.com – Portishead – Third'. Hung Medien.
49. ^'OLiS – Oficjalna lista sprzedaży'. Retrieved 12 May 2008.
50. ^'Portuguesecharts.com – Portishead – Third'. Hung Medien.
51. ^'Spanishcharts.com – Portishead – Third'. Hung Medien.
52. ^'Swedishcharts.com – Portishead – Third'. Hung Medien.
53. ^'Swisscharts.com – Portishead – Third'. Hung Medien.
54. ^'Portishead | Artist | Official Charts'. UK Albums Chart.
55. ^'Portishead Chart History (Billboard 200)'. Billboard.
56. ^'Classement Albums – année 2008' (in French). Syndicat National de l'Édition Phonographique. Archived from the original on 4 December 2012. Retrieved 5 April 2018.
57. ^'Hitparade.ch – Schweizer Jahreshitparade 2008'. Hung Medien. Retrieved 5 April 2018.
58. ^'The Official UK Albums Chart – Year-End – 2008'(PDF). Retrieved 5 April 2018.
59. ^'Annual Chart — Year 2008 Top 50 Ξένων Aλμπουμ' (in Greek). IFPI Greece. Archived from the original on 21 July 2011. Retrieved 1 July 2010.

External links[edit]

• Third at Metacritic
• Third at Discogs (list of releases)
• Third on Last.fm
• Portishead – Track by Track on YouTubeNME interview with Geoff Barrow and Adrian Utley discussing the tracks on the album.

Mystery burns at the heart of Portishead, lurking deep within their music and their very image. From the outset they seemed like an apparition, as if their elegant debut, Dummy, simply materialized out of the ether in 1994, as their stately blend of looped rhythms, '60s soundtrack samples, and doomed chanteuse vocals had only a tenuous connection to such Bristol compatriots as Massive Attack and Tricky. Soon enough, Portishead's unique sound was exploited by others, heard in swank clubs and high-end dinner parties on both sides of the Atlantic, a development that the trio of Geoff Barrow, Beth Gibbons, and Adrian Utley bristled at instinctively, recoiling into the darker corners of their sound on their eponymous 1997 sophomore album before fading back into the ether leaving no indication when they were coming back, if ever. They returned 11 years later, seemingly suddenly, with Third, supporting the album with candid interviews that lifted the veil from their personality, yet the mystery remained deeper than ever within their gorgeous, unsettling music.

Portishead Third Zip Rar 7z Download

That strain of uneasiness is a new wrinkle within Portishead, as in the '90s they favored a warm, enveloping melancholy, a rich sound that could be co-opted and turned into simple fashion, as it was by band after band in the heyday of the swinging '90s. So many groups grabbed ahold of Portishead's coattails that it's easy to forget that in 1994 there was no other band that sounded quite like Portishead -- not even Massive Attack and Tricky, who shared many surface sounds but not a sensibility -- and that is just as true in 2008, years after trip-hop has turned into history. Their cold, stark uniqueness isn't due to a continuing reliance on the cinematic textures of Dummy, although there are echoes of that here on the slow-crawling album openers 'Silence' and 'Hunter,' songs just familiar enough to act as reminders of how Portishead are special, yet just different enough to serve notice that the trio is engaged with the present, even if they've happily turned into isolated recluses, working at a pace utterly divorced from the clattering nonsense of the digital world. Third is resolutely not an album to be sampled in 30-second bites or to be heard on shuffle; a quick scan through the tracks will not give a sense of what it's all about. It demands attention, requiring effort on the part of the listener, as this defies any conventions on what constitutes art pop apart from one key tenet, one that is often attempted yet rarely achieved: it offers music that is genuinely, startlingly original.

Surprises are inextricably intertwined throughout Portishead. There are jarring juxtapositions and transitions, as how the barbershop doo wop of 'Deep Water' sits between those twin towers of tension of 'We Carry On' and 'Machine Gun,' the former riding an unbearably relentless two-chord drone while the latter collapses on the backs of warring drum machines. Echoes of Krautrock and electronica can be heard on these two tracks, but that very description suggests that Third is conventionally experimental, spitting out the same hipster references that have been recycled since 1994, if not longer. These influences are surely present, but they're deployed unexpectedly, as are such Portishead signatures as tremulous string samples and Utley's trembling guitar. Out of these familiar fragments from the past, Portishead have created authentically new music that defies almost every convention in its writing and arrangement. As thrilling as it is to hear the past and present collide when 'Plastic' is torn asunder by cascading waves of noise, Third doesn't linger in these clattering corners, as such cacophony is countered by the crawling jazz of 'Hunter' and the sad, delicate folk of 'The Rip,' but a marvelous thing about the album is that there's no balance. There is a flow, but Portishead purposely keep things unsettled, to the extent that the tonal shifts still surprise after several listens.

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Such messiness is crucial to Portishead, as there's nothing tidy about the group or its music. Experimental rock is often derided as being cerebral -- and this is surely enjoyable on that level, for as many times as Third can be heard it offers no answers, only questions, questions that grow more fascinating each time they're asked -- but what sets Portishead apart is that they make thrillingly human music. That's not solely due to Gibbons' haunting voice, which may offer an entryway into this gloom but not its only glimpse of soul, as the perfectionism of Barrow and Utley have resulted in an album where nothing sounds canned or processed, the opposite of any modern record where every sound is tweaked so it sounds unnatural. Third feels more modern than any of those computer-corrected tracks as the group's very sensibility mirrors the 21st century, where the past is always present. Then, of course, there's that rich, fathomless darkness that Third offers, something that mirrors the troubled days of the new century but is also true to that shimmering, seductive melancholy of Dummy. Here, the sad sounds aren't quite so soothing, but that human element of Portishead gives them a sense of comfort, just as it intensifies their sense of mystery, for it is the flaws -- often quite intentional -- that give this an unknowable soul and make Third utterly riveting and endlessly absorbing.

Portishead Third Zip

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