that's the magic number

There are many people, perhaps this writer included, who felt that trip-hop may have proven to be a genre of music which quickly, albeit brilliantly, ran its course. A fad which, despite some stellar successes, lived and died with the cultural times from which it emerged. And in many ways this has proven to be the case. It depends of course on what you want to describe as "trip-hop" in the first place, and labels such as this are by no means particularly helpful anyway. But there is no doubt that as a collective musical style it's appeal appears to have been relatively short lived, however much of a legacy it has left, or its influence to artists since the early 90s heyday.

It is somewhat astonishing then, that with their third album proper, Portishead have not only created a brilliant comeback from a near decade-long collective musical hiatus, but simultaneously appeared to breathe new life into this moribund old dog. "Third" is an album that is as great as it's two predecessors, the awesomely brilliant debut and queen of the scene "Dummy" from 1994, and 1997's "Portishead", itself something of a menacingly melancholic masterpiece. But what a way to score your hat-trick. The sound is undoubtedly trademark, but somehow invigorated and refreshed, and as with previous vintages the album seems to just improve with age and repeat listens.

There has always, to my mind, been a beauty embedded in Portishead's music, a romantic streak which serves to offer a soft and enchanting route through the darker landscapes conjured up by their music. And "Third" is not short on beauty, the long break (despite solo diversions) appearing to have matured Beth Gibbon's wonderfully tender voice yet further, and increased the already cinematic scope of beat-maker Geoff Barrow's creative vision. And guitarist and co-writer/producer Adrian Utley's contribution should be counted as well, the jazz-like structures a key element of the often haunting soundscape, and on this album coupled with some folky flourishes and proto-punk pseudo riffs that simply serve to extend the already sophisticated palate.

Whether or not "Third" goes down as an absolute classic in the way that their first two albums have done, or indeed their quite magical live NYC Roseland Bowl recording, remains to be seen. But that they have returned at all is grounds for massive celebration, the mastery of the return simply a reminder that these are quite a special band. And with releases this year from celebrated Bristol contemporary and alumni Tricky, as well as erstwhile partner Martina Topley-Bird, 2008 could be the second coming of the music that nearly died. Just don't take it as an invitation to set up the Morcheeba comeback tour.