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Editorial Review:
With Dummy, their 1994 debut, Portishead not only created a classic of turntable-derived soul, but defined their sound so exhaustively as to spawn a host of imitators. So what to do for a follow-up? As it happened, the answer was simple--refine the template. This self-titled album simply ups the ante on everything that made their debut so special: the brooding sense of menace, that deep streak of romantic fatalism. Much is made of the cinematic quality of Portishead's music--and indeed, many of these tracks sound like they should be accompanying some existentialist spy flick from the mid-1960s. But ultimately, it's singer Beth Gibbons that's their greatest asset: her vocals gliding effortlessly from the furious ("Cowboys") to the forlorn ("Mourning Air"); from the exuberant ("All Mine") to the exhausted ("Only You")--and all set to the group's most ambitious and expansive arrangements to date. A majestic, damaged and frequently terrifying masterpiece. --Andrew McGuire
Like Soul II Soul a few years before them, Portishead spearheaded a revolution in both pop and dance music by introducing a distinctive new groove. Portishead was at the vanguard of the '90s trip-hop onslaught, and after a three-year respite, they return with a self-titled second album to reclaim the trip-hop crown. Beth Gibbons is on her way to becoming the Billie Holiday of electronica, retaining a stoic, laconic tone while recounting tales of despair and emotional upheaval. The lazy, spacious beats that are the band's trademarkprovide just the right combination of urgency and tranquility to underscore the emotional contradictions at the core ofPortishead's music. Adrian Utley's delightfully creepy guitar and keyboard work adorns the proceedings tastefully and effectively. On tunes like "Cowboys" and "All Mine" Portishead makes it plain that when it comes to arresting, unsettlingelectronic dance-pop, nobody does it better.
Customer Reviews:
Avg. Customer Rating: 4.5 / 5.0
superiority without a doubt ... harrowing, infectual and experimental sounds make this a far superior offering to the pedestrian dummy.thats no too say dummy is lazy or derivative it has some great tracks and a consistant theme but i think it never really climaxed like this self titled lp. cringeworthy certainly not gorgeous and expressive absolutely rarely groups have the integrety to produce music that attempts something new and in doing so pushes the boundaries for a greater experience in their second helping i strongly reccomend this... more info
The Genius of the Portis' Totally amazing, one of the greatest albums ever made. Dark, brooding, with awesome scratching, beautiful and unsettling singing and, in my opinion, superior to Dummy. Love driving at night or smoking at home to this absolute classic. You'd be a fool not to hear it.
Second album blues... If this had been Portishead's first album, everyone would be raving that it was the greatest thing that ever happened in early nineties music. It wasn't and people aren't. And while there aren't quite the high points of Dummy - Like Sour Times, Roads and Glory Box, I think this second offering is more consistent than the debut. All Mine, Over, Only You are all fine songs. It's claustrophobic and classy, it's blue and brooding. I wish Beth Gibbon would sing more, she has quite an amazing voice. Portishead... more info
Trip-hop noir Portishead created a unique sound in their debut "Dummy," combining smoky jazz and trip-hop. So an equally good follow-up was a pretty tall order. Enter the self-titled "Portishead," which ups the eerie noir feel while not abandoning the cool electronic edge. In the months before their return, it seems appropriate to revisit their older material. "Did you feed us tales of deceit,/Conceal the tongues who need to speak?/Subtle lies and a soiled coin,/The truth is sold, the deal is done," Beth Gibbons... more info
