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Portishead
Comment:
It's fitting that Portishead got signed on the strength of [i]To Kill a Dead Man[/i] — a '60s-inspired spy movie they shot, scored, and starred in — rather than a run-of-the-mill demo. After all, the group's always approached their albums like a black-and-white classic of Hollywood's golden age, from the stark stills that turn their record sleeves into impromptu movie posters to the music itself — the sweeping orchestral arrangements and living, breathing film noir soundtrack of [i]Roseland, NYC Live[/i], the insta-classic cuts of [i]Dummy[/i] and [i]Portishead[/i], and the completely unexpected sonic detours of [i]Third[/i], a long-delayed album that almost made us forget the ten lonely years we spent waiting — [i]hoping[/i] — for its release.