Third

If "Dummy” was too optimistic for you, "Third" will patch up this alleged imperfection with one of the bleakest and gloomiest electronic albums of the 21st century.

Portishead probably need no introduction. Their innovative combination of sound, blending early trip-hop with neo-acid jazz, which provided the perfect backdrop for Beth Gibbons low, slightly husky and melancholic vocals, captured the hearts of many, including mine.

After more than 10 years without any new releases, this album was a question mark. It can be said that between "Dummy" and their self-titled record, nothing much has changed in terms of sound. However, to say that nothing has changed at all would be a lie – the instrumentation on their second album is more chaotic, ranging from epic, orchestral songs such as "All Mine" to songs where Beth's voice is the only melody, such as "Only You". However, the band clung tightly to the limits set by their previous album, and we still have the same noir trip hop sound here.

Their live album, Roseland NYC Live, attempted to experiment with reinventing some songs, for example, they transformed the dissonant, brooding song "Sour Times" into an atmospheric downtempo track with feedback guitars and a wall of sound. But this album was a live recording of songs that we already knew well - it was also caught up in the trip hop category.

So, the question mark appeared with the question - is Portishead going to follow the path already paved and create a third album similar to the previous two, or should they experiment? Now we know the answer, and I must admit that it is an incredibly well-made album, even if it is a complete reinvention of their style.

This album gives the listener practically no respite, constantly changing its sound, yet somehow remaining incredibly cohesive. We get a small ray of hope in the form of "Deep Water", a calm and short acoustic folk song, which is immediately crushed by "Machine Gun", which practically balances on the border between industrial, is relentless, punishing and the most terrifying song this band has ever released.

And, my dearest song, "The Rip" is one of the most beautiful examples of how even simple synthesizers and their arrangements can bring a person to tears. I would be lying if I said I hadn't shed a sea of tears to this song, pondering the existential nature of life. Beth Gibbons' singing is light, fragile, bittersweet, and combined with these lyrics... I tell you, I've read thousands of lyrics in my relatively short life, but I've never read anything so beautiful and breathtaking.

"Small" is practically a progressive song. We start with very atmospheric, dark guitar and vocals that are so quiet that they practically blend into the background, which adds to the atmosphere. In the middle, we move on to an electronic, krautrock sound, and at the end, these two worlds seem to merge into one - the feeling of introspection and urgency in the middle are combined.

Songs with the title "Hunter" have always had an easier time getting into my favourites for some reason. Whether it's Have A Nice Life, Bjork, or in this case Portishead, they always capture my heart. This was also the case here. It is an incredibly fragile song that shows the delicate beauty of Beth's voice in its full glory. And the instrumental, which is very calm, but in places almost breaks through, although it never leaves this restless calm.

In the end, Third is Portishead's strangest album, but it is in this strangeness and avant-garde that its stunning beauty lies.