The Bristol Sound

Having remedied my self-inflicted difficulties in posting, here goes the revised take on another musical love affair of mine. I've already expounded on my love of Akira Yamaoka and how it mixes well with the winter nights of Minnesota. What I thought I'd share today is a chicken/egg sort of dilemma. 

As I wrote in the original post on Yamaoka, the music he creates for his soundtracks tends to be down-tempo, ambient, moody trip hop. While I was first exposed to his work in 2000, that particularly excellent genre of music had already burst onto the music scene and established some of the highest-regarded works in the field. In particular, the U.K. based Portishead has made not only what is generally held to be some of the best trip hop music ever, but are one of my (secret) favorite bands. The aforementioned chicken/egg dilemma really only pertains to my own tastes - Portishead existed long before Silent Hill had soundtracks, but I heard the soundtracks first. Like I said, it's only an issue to me, but it gives me a chance to spill my guts over another love. 

Portishead.  

Formed in the early 90's, the band exists as fluke or unintended project. Its members had made a noir film title To Kill a Dead Man and had composed their own soundtrack for the bizarre short film. It was this soundtrack of moody, subdued tunes that got them signed. These people then said "Forget the films, let's do music!" and pushed forward, releasing the lauded album Dummy in 1994. This album, coincidentally the first of theirs I listened to, is quite simply beautiful. It's full of songs that throb and hum, leaving little spaces that modern music crams full of clicks and buzzes and "Yeahs!". It's a clear outgrowth of their work scoring their own film, as it clearly would fit a spy movie. Another album that I love to put on when walking somewhere at night. 

In 1997 they released their second, self titled album. It was just as well received as their first, earning numerous nods for best of the year from respected sources I won't bog you down with. The tone on this album was simultaneously harsher in tone and quieter in the lulls. It's a haunting work of heartbreak and loneliness, one that comes across as sparse despite the rich and deeply crafted soundscape. At times it sounds as though the album were a tired and broken wind-up doll, a pretty little thing that is having a hard time functioning. It can suddenly spring to life and surprise the listener with its vibrancy and unexpected passion. 

The group went on hiatus for nearly a decade after releasing a live album, only to get back together to craft the appropriately titled Third. This album continues the trend in directions both fragile and aggressive. Songs like 'Deep Water' and 'Machine Gun' may seem to show a band at odds with itself, yet they still feel linked in tone and voice. Bridging the gap is the excellent track 'The Rip' which utilizes a bubbling synth that builds to a satisfying crescendo. Recently the band released the single "Chase the Tear", which suggests further refinement of their sound. Displaying an almost New-Wave sound and pace, it shows the band still has plenty of zeal in their hearts. 

The collected body of work by Portishead is astoundingly unique and, for me, privately thrilling. No matter how much critical acclaim or broad of fan base, I still feel like it's my personal treasure, this personal sacred thing that no one else knows about. Even when I find someone else who loves them, this music seems strangely different. I don't feel like I'm sharing the appreciation of music like when a song everyone knows and loves comes on at a bar. This is different. It's private, personal. It's a group whose style is on such a suitable wave-length for me that I can't help feeling like it's unique to me. Selfish and crazy, I just think this band is unbeatable in their field.