Portishead Reviews

• I feel so cold...

  
  By A15Q8WM87VF1RZ on 2006-04-12
  There's nothing like Portishead and nothing like their 2nd album. Its darker, creepier, and more haunting than the first. The entire album has an overal similar sound which makes for a more themed and theatrical sonic experience. I like this better than the first album which had the obvious singles and dabblings in various spectrums of trip-hop which now resembles everyone from tricky to morcheeba. However on this 2nd release, Portishead holds their own, establishing their own trademarked sound: an eerie, slow-paced death-orchestra led by a sultry singer with a heart of black-gold. This music will get into your brain and eat away like bad acid. Exquisite production and smart use of turntables. From the intro of eerie high pitched twinklings over a heartbeat that lead into twangy strums of electric guitar and record scratching, to the last song which ends with the sampled vocals of an old bluesman pining about hookers and gin, this is a masterpiece recording. Goes well with a late-night martini and captures the dreary mood of a cool, misty morning in Autumn just after it has rained and the fog is still hanging in the air...
  
  

• Window Into Another World

  
  By AKATZ83U6WFT8 on 2005-09-07
  It is pretty widely said that Portishead's self-titled second album is okay but not as good as Dummy. Let me say that my point of view tends not to be so wide.
  
  If you were a lover of Dummy tracks like "Sour Times" and "Roads", you will be disappointed with this album. But if you dug the styles of tunes like "Wandering Star" and "Pedestal", then you should do yourself a big favor and buy this album if you haven't yet. There's absolutely no way you'll regret it. Because, for me, Portishead's Portishead is one of the greatest albums ever released.
  
  Dummy was filled with creative "songs". You know, song-like structures and things you can listen to out of context of the rest of the album. But what separates this from Dummy is that you won't find "songs". What you'll find is about an hour of beautiful, haunting, mind-altering MUSIC. There's no better fuel for meditation, creativity, conversation or even tripping than "Portishead". This music puts you into another world against your will to have you chewed up and spit out. Listening to this album in its entirity is more of an experience than you'll be able to find in most places. And those who have not had this experience are sad, sad people who stare at the floor when they walk and pass you with an aura of uncoolness.
  
  The eclectic beat (changing from pure trip-hop in Undenied to an indie garage flavor in Half Day Closing) keeps you moving through its swaying motion into its abyss of uniquely layered melodies and sounds (oddly distorted guitars, a heart-rumbling bass, morbid pianos, and effects lifted straight from old noir flicks and 50's sci-fi vibes) with the great icing of Beth Gibbons vocals that you'll swear is a ghost living inside of your head.
  
  Now, that being said, this album is definitely not for everyone. Impatient people and shallow listeners will not be able to properly absorb all of the textures and oddities of this masterpiece. Some who listen at face value may find it to be repetitive (although it isn't in the least bit repetitive, definitely less repetitive than the often compared Tricky). It is imperative to listen to this album with both a relaxed and open mind.
  
  Also, as a little side-note, if you're a fan of the filmmaker David Lynch, you'll probably dig this album a lot. I don't know why. It's just one of those truths.
  
  

• Cool Jazzy Musique-Noir

  
  By A1HFRNJMWCKXDP on 2005-02-09
  Portishead is classic musique-noir album that is beyond description. Its hauntingly fractured beats with "loungey" inspiration and Gibbon's emotive vocals which range from despair to mocking to exhilaration form into one of the most unique sounds. Though arguably theatrical at times, this is an album that has and will continue to amaze. I was a casual listener to "Dummy", Portishead's first, but upon buying this album in 1998 I was in rapture: this music is moving. Sounding like a 1940's nightclub or 1960's lounge at times and then quickly moving to sounds that sound like a SoHo art club and then switching to a mood like that 4 AM telephone call with some girl who is just too close to the edge, the sheer range and feel of this album is fantastic.
  
  One thing that is terrific about this album is that it can be played the whole way through making it a great soundtrack to a cool party or a long drive to nowhere. Its jazzy smooth yet jarring sound is good morning noon and night. If you don't own this album yet you are years late but don't worry, its not dated and it will provide great enjoyment for years to come.
  
  -- Ted Murena
  
  

• I actually give it four and a half...

  
  By A2AHYR5LXZVY9X on 1999-02-28
  But I can't quite give it five becaue I know what this band is capable of. In my mind, perhaps the most original and influential band of the 90's, Portishead comes out with another great album. If it weren't for the absolute brilliance of their first album and the expectation that it caused for me, I would give this five stars. "Mourning Air" is a masterpiece, and "Western Eyes" is a beautiful touch. I still am absolutely in love with Beth Gibbons, even though there are a few points in this CD when her singing gets a bit loud and unbearable. Do not worry if you do not like other things you have heard labeled "trip hop", Portishead transcends this label, and most other categories. Dummy took a while to grow on me, and perhaps all this CD needs is a few more weeks of deep listening before it joins my list of all time classics, but for right now I have to keep it just slightly behind Dummy, if for nothing else because Dummy came Four years ago and truly revolutionized the music scene.
  
  

• Soundtrack for a movie Noir

  
  By A2CHV3M1UR42KJ on 2005-02-25
  This album is almost a soundtrack of a fictive movie Noir. Let me say first that I like this second, self-titled album by Portishead even more then their ground-breaking debut 'Dummy'.
  
  Sssh! The movie is about to start...
  It's night. The creepy silence is giving you shivers. Suddenly a man appears.. 'Cowboys' is starting in the background. The creepy intro and Beth's voice cut into your flesh. Now you see the man's face covered with blood. It seems like he's on the run for someone or something. The volume of 'Cowboys' is rising every second. The man looks right, then left. Did he see a man standing in the shadows over there? The man starts running. He's hearing footsteps following him. Suddenly someone grabs him by the arm and pulls him into a building. They got him. The building seems to be a stiptease-bar. The enjoyable 'All Mine' starts playing. It's pleasant, yet also very dark, just like the bar. A man sitting in the corner talks to him. He says that he needs to get his money back, but it seems like the poor guy doesn't have any. While 'Undenied' is playing in the background they beat him up and torture him. Afterwords they throw him in a dark, mysterious room. He can't see anything, he can only hear something. It seems like there's some kind of radio in the room. It's playing 'Half Day Closing' on mid-volume. It scares the man. He wants to get out of there immediately. After a few tries he gets out of the building. It's cold and creepy outside. No lights, only the moon. The scary, but also mysterious'Over' is played. He hears voices inside of the building, they must have already discovered he escaped. He starts running again, with the song 'Over' buzzing in his head. He stops running when he sees an old, spooky house that seems empty. He opens the door and enters the house. When the door shuts, you hear 'Humming' in the background. He's in an extremely dark hall. He gets upstairs. All the windows are opened and a fresh 'Mourning Air' flews truh the windows. He looks out of one of the windows. He sees some shadows moving in the garden. He gets out of the house as quickly as possible. The sounds of 'Seven Months' echo in the background. He's running truh the streets and steals a car. He drives as fast as he can. He puts on the radio and 'Only You' is being playing on the radio. The sound relaxes him a bit, but it's quite spooky.
  Suddenly he gets a flat tire and moves over. He sees some cars coming close, he has been followed. He runs into the forest. But some men grab him and throw him on the ground. 'Elysium' starts playing. One man talks. 'You have to pay. If it's not with money then it's with your life'. 'We warned you, Port!' says another man. The man takes a knife, grabs Port and cuts off his head. His head falls on the ground, with his eyes pointing to the west. The tunes of 'Western Eyes' end the movie. The Movie is called Port's Head.
  
  
• Dark happiness
  By A1VQLPTJAEAZ29 on 2003-02-10
  This entire album reminds me of a dark, foggy street with a single man standing under a streetlight far away. You know he's watching you, but you don't know why....

  It's a fantastic, dark, and surreal musical landscape, and although its nowhere near as good as their first album (Dummy) its still amazing.

  Buy Dummy first, and if it hits you the same way it has me, then go for this album too.
  
  

• As good as 'Dummy'
  By AXXSAR1VBAFEM on 2000-06-27
  Many people are swift to condemn this album as 'Dummy's poorer relation. I admit, I found this album difficult and disappointing at first, but, much like 'Mezzanine' by Massive Attack, it wormed it's way into my conciousness, and has stayed there since. Of course the album is close to 'dummy', it is made by the same people! But, there are some crucial differences between this album and 'Dummy'. For a start, Beth's vocals are harsher, more varied and dare I say, sexier. She still seems upset about something (Undenied, Only You) but tracks like Cowboys and Seven Months show her to be more venomous and up for a fight. In terms of the sound, there is still the scratching and breakbeats, but also there is more sparse composition (winess the strikingly simple and effective 'Over'), and when Portishead want to use an orchestra, boy, do they use it. The string section of the LP makes up the finest track, 'Humming', a beautiful and epic combination of 30 violins and the Theremin, making it sound like a Horror film theme, except much better. If you loved 'Dummy', then you should buy this, as it will grow on you. It might seem inapproachable and difficult at first, but the sheer depth of the sound will ensure that you come bck for more. Give it a chance.
  
  
• Supremely spooky
  By A25PM9JGHPU8EI on 2004-12-29
  This is a masterpiece of haunting, cinematic, ghostly, sexy 007-horn blasts and theremins. Beth Gibbons sings as if she's on the cusp of expiration, all sounding so perfect.
  
  
• Better than Dummy!
  By on 2002-01-19
  I know that it might sound sacrilegious but it's true. Portishead's 1997 sophomore is in my opinion a much greater experience than the debut Dummy. Whereas Dummy was a delicate, subtle & stable effort with all of the tracks pretty much sounding in the same vein (Not that it's a bad thing) Portishead is more industrial & heavy, id est much more fascinating to listen to. The lyrics are far superior to the debut lyrics (On several occasions @ least, like in the social grievance that is "Half Day Closing") & Beth Gibbons' vocals sound much more sinister & spiteful- In point of fact she sounds like an entirely different singer which is a great achievement a very selected few artists could achieve. Some songs are too strident for their own good (Like the grating opener "Cowboys") but that's one of the things that make the album far more interesting to listen to than Dummy, along with the more vast usage of "live" instruments such as guitars, pianos & organs. Favourite songs so far- "All Mine" (Very much reminiscent of "Glory Box"), "Undenied" (Beautiful, simple piano), "Over" (Ah, the acoustic guitar!) & of course, the song that made me buy both Portishead's studioalbums, "Only You" (Topnotch video also). You'll be surprised to hear the male vocals in the end of "Western Eyes"!
  
  
• Much Better Than Dummy
  By on 2000-07-23
  This album is way, way better than Dummy. This is probably the most experimental and forward-thinking of all the albums released in the trip hop genre. Undoubtedly one of the best albums of the 1990's, this self-titled sophomore release is thoroughly listenable all the way through, with no filler, no wasted space and filled with carefully crafted songs by a talented band. While everyone else compares it to Dummy, this album is in a class of its own, free from the rigid constraints of traditional trip hop that Dummy was immersed in.
  
  
• Natural Progression
  By A1WK0BWK7PPM09 on 2005-08-20
  Not as friendly to the ears as the first album, this second attempt begs the listener to let oneself be slowly digested by this new, more mature, slightly different sound. Beth Gibbon's voice shows extended range and changing textures, sometimes lulling the listener to believe more than one vocalist collaborated to the effort. Gibbons' songwriting improving with experience, the first album's black and white composition and contrasts gave way to subtle shades of grey, resulting in a deeper, more refined blend of the vocals, lyrics and arrangements. The trio definitely seemed to connect on a higher level in the creation process that gave birth to one of the genre's most memorable albums, which consolidated its reputation and propelled the band to a rather strange underground iconic status after gaining a cult following.
  
  
• I wouldn't exactly call it Trip-Hop
  By AYAT1UQVGI6FJ on 2004-08-18
  Although Trip-Hop is the best way to describe Portishead's blend of deep electronic beats and repeating rhythms underneath Beth Gibbons hypnotizing voice.
  
  All at once sounding like an angel and a witch, Beth's voice reaches highs and lows giving off deep emotions that propel the music farther than it could've gone otherwise. This album seems very tense and dreary as if your traveling through someone's horrible yet wonderful dream.
  
  And that's what it is to me everytime I put this record on; a dream.
  
  
• Smoky
  By A1FH79YMHTZ2IK on 2005-01-12
  If you were sitting on a fuzzy carpet, in a smoke filled room, with your 20-something ironic friends, chatting about topics that seem important to your "faded", at the moment, selves...This would be appropriate background music.
  
  Essential lounging music. :-)
  
  Patient verses, rifts, and samples are what this CD is all about.
  
  Every note seems to have been placed exactly where it needs to be on each track...And Beth's voice is fragile thing seemingly on the cusp of being shattered into a million pieces.
  
  If you like trip-hop, you (probably already own) will dig this.
  
  
• Simply amazing
  By on 2000-10-26
  I was never really a fan of this kind of music before I heard this cd, but I am now. I was totally caught off guard by how deep the music is. When reccomending portishead to friends, I try to tell them not to pay attention to the lyrics; this music is so deep that the vocals are just another instrument, not the main focus of the music. I have never been moved quite as much by an album in my life.

  It is far better than dummy, its more complete dare I say it? The music has a flow to it that is just amazing. Listening to it outside of the order it appears on the cd just isn't the same.

  A word of advice though, never listen to this cd in a depressed state, it can have bad effects on you. Nothing will depress you worse than portishead, and that can be a good thing.
  
  

• THE MOST IMPORTANT ALBUM IN MODERN TIMES!
  By A2G51KJ3C4G7KG on 2001-04-23
  With Jaco Pastorius' "Word of Mouth" another album that was too far ahead of its time to be understood by the mortals of the temporal plane, "Portishead" is the most innovative musical adventure thus documented. I keep the complaints here about 'it's no 'Dummy'. Well, that's correct, it's remarkedly evolved when compared to "Dummy". If "Dummy" was the key to unlock the door for all the copycats, then "Portishead" was the sound of the slamming door locking them out of the living room. G-Clef
  
  
• Still cant get it out of my head
  By AIQ072RFH4TW2 on 2000-12-19
  I have owned at least 3 copies of this LP. Loaning this album to friends that I want to explore the "trip-hop" genre, usually leads to them never being returned. I got turned on to their first album, "Dummy" by a store display, it became an instant favourite. This album, eagerly awaited by myself and some of my more "in" comrades, proved at first to be somewhat a disappointment. There were no "hits" on this album. Nothing mainstream radio could really sink its teeth into. I cast it aside for a few weeks, only to pick it up again and play the album in a different mood. Less expectations of "Dummy" in my head. What I ended up hearing was a "band" not a producer in his room. The sound actually said, "this is a band called Portishead", not a producer and his cronies looping tapes and LP scratches. The production is amazing, a wide open solitude I have never heard on anything else in the electronic genre. This album is more like Portishead than they ever were before. What The Cure do for euro-pop, Portishead does for electronica.
  
  
• Good stuff
  By A1WAF4XEERCI8N on 2000-02-25
  This album is great...espeically Western Eyes. I love listening to the CD, it only gets better and better every time I listen to it. It's not quiet as good as Dummy, but it's still great. If you've never listened to Porishead, purchase Dummy first, but make this album second to buy on your list.
  
  
• AS GOOD AS "DUMMY".
  By A3U7247JF0L52E on 2004-12-07
  I've been listening to this a lot lately. I reviewed "Dummy" recently and I have to say that I like "Portishead" just as much, but not better. The song "Half Day Closing" is worth it for that alone. And did you notice the guy counting off the measures once the drums kick in? BRILLIANT. Portishead only put out two albums, but at least they are both awesome, instead of putting out two masterpieces and then ruining their legacy with crap like most bands today. LISTEN TO ME, DAMN IT!
  
  
• Deliciously Dark, Yet Hauntingly Sweet
  By A3UC8IVCJM7LI0 on 2004-12-24
  I feel quite the gauche and obscure little gothette, but I only just happened upon this group some six months ago. It is a good thing I suppose that I've always been a touch promiscuous in light of music, and mind you I have yet to find anything too clashing or contradistinct so as to elude my interest - I might not have found them beneath all the plastic, cookie-cutter cutouts strangling modern radio.
  
  I am so deeply impressed with this album. It is dark, melancholy, a shade morose and gloomy, but also poignantly soft, subtle and all around silky-sweet. It is almost, dare I say, delicate. I've heard tell of this album being described as exuding a mellow, yet piquantly moody, sci-fi aura. I couldn't agree more - it bleeds eerie and alien black, a delish compliment to any morbid, macabre mind, but it also endears itself quite seductively to the hopeless romantic with a weeping, prettily polished forties feel ... almost jazzy at times. Or, at least that is the impression I was left with.
  
  Beth is a fabulous compliment juxtaposed with the beautifully heady, brooding backdrop of crisp percussion, retro brass and writhing tempo. It isn't often, sad to say, that we are appreciated so original and unique an eloquence, but when we are, it leaves quite the imprint indeed. It is positively incomprehensible how natural a match she is to this music. Sheer brilliance.
  
  It is impossible finding words befitting of this album. It is so many things, but the one thing it is not is dull. It is bewitchingly intelligent and a salad bar for the emotions - it is utterly soul-shattering. It is a little more strange then you're used to, but it is a good kind of strange, you know ... the kind of strange that leaves you dazed and breathless, curiously asking yourself a lot of those little nothings you might have been too scared to ask before.
  
  
  
• different from and almost as good as dummy
  By A2SDBZIHEAEJIY on 2003-09-30
  i can't remember how many years we had to wait for the follow up to dummy (my brain is kinda messed up. 25 years of living on planet earth does this to a guy). anyhow the follow up came after years of waiting. and it was much different than most people were thinking it was going to be. but it's ever bit as good. the beats on here are alot more dark and a little weirder. i swear the beat on Seven Months sounds like a duck horn. lol. my dad had one and that's what one sounds like. also love the little guitar work in that song. beth's voice is amazing as always. the beats are great. there is a little filler on here like Half Day Closing & Over (never did like that track). but when they're on the top of the game (which they are for the most part) it's very good. i would rather give it a 4.5 but since i can't i'll have to go with 5 just because there really is some great stuff here. the last track on here is about as good of an ending track as you will get. the fake sample with the guy singing is classic stuff :) it's to bad they couldn't keep hitting us with albums but the 2 we did get are classic.
  
  
• Not as good as Dummy, but still great
  By A1P2XB9U35BJQX on 2003-09-04
  Portishead had little to gain with this album. Their debut had been so successful that it shaped an entire musical style, and the whole landscape of a city. Their efforts to follow this were fraught, to the extent that almost an entire album was thrown away before they got this opne in the can.

  All Mine and Only You are the most commercially palatable tracks on here, and 2 of the best. Beth is on top form vocally, a fact also borne out by the haunting Undenied. Only You brings the hip hop influence to the fore, sampling The Pharcyde to good effect and counter-balancing some of Beth's bleakest lyrics. All Mine's shimmering chorus is instantly memorable and balances well against the rest of the track.

  Humming has to be seen as another standout, a six minute epic with builds from an eery intro to a passionate epochal climax. Anotehr favourite of mine is Western Eyes, which changes direction inexplicably at the end to provide a Portishead take on lounge, specifically the work of Shaun Atkins, described on the inlay as 'The Legend'.

  However, in places the emphasis on atmospherics detracts a little form the tunes, and like any follow-up to an innovative debut, there is much less new ground to explore. I expect if you buy this first, you may end up preferring it, but I'd say Dummy stands above it.
  
  

• Hidden Treasures...
  By A3TC6OAWK0JLFQ on 2003-01-02
  Portisheads' self titled 2nd disc (shouldn't it be the other way around?) is fantastic. The first single "Cowboys" is something very different than what you would expect, it's one of my favorites. The way the guitars overload the track with strange sensations is a wonderful turn around from the relaxation period in Portishead's career. This CD is something you can really get excited about. One of the CD's masterpieces is "Roads." Now this song always gets to me, it makes me cry everytime. You have to hear this track, its so impactful, one can only imagine where Beth gets these lyrics... Download or buy it, As long as you hear it - its all good. My other favorites off the CD are Western Eyes and All Mine.
  
  
• Perfect
  By AQNJ60YACLH16 on 2000-07-25
  Why does everyone say that this is disapointing after Dummy. What are they thinking. Portishead realy broke free with this one. The sound is so much richer, deeper, and more powerfull.

  Every song has It's own special charms, and each individually has been my favorite over the past couple of years, as each song reveals itself and I suddenly take to it. Although I must say Cowboys has consistently been number one, woth Only you and Mourning Air a close second.

  What strikes me is the honesty of the music, there are no pretences here, their biggest plus is the perfection of each track, there is not a note wrong, or a scratch out of place. In short it is perfect.
  
  

• Great stuff!
  By on 2000-01-19
  If you like Dummy, you'll like this CD. It's not QUITE as good as Dummy (I'd give this one 4.5 stars if I could) but this CD is well worth owning!
  
  
• try it with headphones
  By on 1999-12-18
  First, I gave 4 stars because I'm hesitant to bestow the ultimate on anything. Second, this CD is more cohesive and assured than "Dummy" which is also very good. But back to the headphones: put them on, turn this up as loud as you can take it, close your eyes and concentrate on the amalgam of sound. You think it's incredible coming out of speakers? Have every bit of it spill into your ears. Production is amazing and has at times brought tears to my jaded eyes. The art of it all! Beautiful! I want to live! Hopefully, Beth will hang in there and P-head will make another.
  
  
• the most delicate, beautiful album i have ever heard
  By on 1999-04-19
  Ive been into them since I heard "Dummy" when i was 12 years old and although I've owned this record for about a year and a half already, i still have "Undenied" playing in my head all day. The only way i can describe it is to use contradictions:- it's uplifting yet soul destroying, it's tender yet violent.....you have to heart it to understand. Live, they are amazing. I saw them just after the release of this album and i can honestly say that i have NEVER been to a better concert than that. It is my ALL TIME favourite gig, better than Chemical Brothers, Korn and Ozzy Osborne. If you like this then you will almost certainly love both Lamb's album "Lamb" and theGATHERING's album "How To Measure A Planet?".

  But overall, this album describes every emotion i have ever felt. In fact, I'm going to listen to it right now.
  
  

• classic
  By A3VZVYWCTGIEV0 on 2010-08-08
  Probably like many in fall, 1997, I was eagerly awaiting the release of a new Portishead album. 1994s Dummy was so inventive, you wondered what the band would do next. I got the album.
  
  Then, I made a big mistake. I listened to Portishead, the album, and though liking it, dismissed it as a copy of the first. Is it?
  
  No! But the lesson I learned is when a band has a rich, deep sound, it pays to listen again and again and again. The rewards are all in the subtleties.
  
  That axiom maxes out on this Portishead album. It turns out I was half right. In terms of songwriting, there is not a lot of difference between the two albums. But what changed is how much more dense the complications are on the second.
  
  Portishead is like a small piece of iron. Pick it up and there is more weight than you can imagine. That holds more true on this album. Listen to the horns, clustered short and deep on "All Mine," amongst the fuzz guitar and booming drums and pulsing bass. There is more instrumentation here than on Dummy, thicker than you would ever think. The ability of Potishead to pack so much into little space is uncanny.
  
  And so much into so dark a space: if Dummy had a despairing tone, this is downright depression--black insanity. Check out "Half Day Closing" with its plodding bass line, forward slowly in its minor blues torment. Vocalist Beth Gibbons whispers and whales, flangers popping on and off her voice. It is truly frightening.
  
  So is most of this album, which is a quicksand of goth fear, samples, 1960s soundtrack allusions, all packed under your most painful finger nail. Listen once, listen a hundred times. The coil will unwind, slowly. Darkly
  
  
• Only You
  By AO0DSAJNLFBZ0 on 2009-01-06
  When I purchased "Dummy" as a trip/hop recommendation, I knew I had to have all of the band's albums. When I purchased "Portishead" I knew I was in musical heaven.
  
  Overshadowed by it's predecessor, many consider it it's lesser equal. But I disagree. Darker, much more infused with a cinematic B-Horror Sci-fi landscape. Throw in a bit of the 60's, 70's, crunchy trip/hop and Beth Gibbon's angsty voice/lyrics. Make me ache for something close to this which I have yet to come across.
  
  
• impossible to find. It wasn't available on itunes until recently.
  By A3USPHFWJZRK3I on 2008-12-16
  Nice for old school hip hop lovers. A combination of wu-tang meets bjork. Interesting and doesn't disappoint.
  Great Album!! Buy, Buy, Buy!!!
  
  
• Second album
  By A2JAKHFYI88ZX0 on 2004-04-06
  After an album like DUMMY, it appears it would be difficult to follow up such a great album. It took the group three years to come up with this second album, and it was worth the wait. Released in the fall of 1997, this album still gets quite a bit of airplay in my CD player. As a whole I think this album is a lot more darker than DUMMY. The music is mystical and dark, with Beth Gibbons emoted vocals, very layered. What's even more impressive about this album is the songwriting, which is stronger than on DUMMY. This isn't an album that sinks in right away, but with repeated listenings more is revealed in the intricate production. There are so many layers. Overall, it gets better with each listen, and overall a very unique and rewarding musical experience.
  
  

• Dummy
• Third
• Live: Roseland NYC
• Mezzanine
• Blue Lines