Use of this site constitutes acceptance of our User Agreement and Privacy Policy and Cookie Statement and Your California Privacy Rights. Who will she become on the far side of forever and ever—the promised land of “Glory Box,” an uncharted territory that she makes sound both liberating and terrifying?

The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. By 1994, Dummy’s after-hours vibe was already familiar from dozens of albums meant primarily for horizontal consumption, such as the KLF’s Chill Out, though Barrow downplayed any link to that scene. A5 contains portions of "Magic Mountain" as performed by [Invalid Artist] courtesy of Avenue Records / Polygram Music Publishing.

Distinguished from Portishead - Portishead and Portishead - Portishead which has Sterling RJ in the runout of Side C (making that a 2000s pressing) and Portishead - Portishead which has TML-M in deadwax and UMG rather than PolyGram on label. And her occasional obliqueness frequently gives way to the album's real emotional payoff: out-and-out dejection. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. More Hamburger icon An icon used to represent a menu that can be toggled by interacting with this icon.

The album may suggest coziness, sonic swaddling, the gentle soundtrack to a raver’s comedown—and in 1994, ravers were plenty familiar with pacifiers. I highly recommend to get this record, it has good mixing, good pressing and is an all-around great album. Assisted by the drummer Clive Deamer, Barrow and Utley would jam in the studio, creating their own approximations of the ’60s music that inspired them. I have many albums that have recorded sibilance and none of them sound nowhere near as bad played through my system, the eSSses are faithfully reproduced, on this pressing though it is so bad that it sounds like HF distortion. However, mine has all the same characteristics as both versions except the speech marks around DUMMY on mine are of the the “66” “99” variety and NOT identical.I’m not normally fussed about format as long as the end product sounds good, but this one feels right on record. Our resources are crucial for knowledge lovers everywhere—so if you find all these bits and bytes useful, please pitch in. In my last comment I noted that I received two of disc 1 in my sealed release instead of a disc 1 and a disc 2.

Sour Times" (the hit in which Gibbons cries, again and again, "nobody loves me, it's true") and the more cryptic "Glory Box" are the lynchpins of the album, defining its sound: dark flashes of old soul and film music, dehumanised electronic bleeps, Gibbons emoting like she's consumed by shame, and a bass-and-beat pulse derived from the slow bump and grind of the Bristol scene that spawned Barrow's old collaborators. When grading this album you have to keep in mind that some of the songs use samples from used records, so they have vinyl artifacts baked into them. The only thing missing for me is the lyrics sheet, but that's not a factor when considering the purchase.Would Portishead have been one-tenth the band they turned out to be had Barrow and Utley contented themselves with instrumentals, or hired session singers to lend a soulful patina at freelance rates? Now with a massively successful US tour opening for sweet soul darlings Thee Sacred Souls behind him, 2023 is sure to be a propitious year for Daptone's newest signee. Some lines stand out as clearly as dog-eared diary entries: “Give me a reason to love you/Give me a reason to be a woman”; “Nobody loves me, it’s true/Not like you do”; “How can it feel this wrong?

Utley noted that he and Barrow are both “really enthusiastic” about the LP, adding that “enthusiasm counts for a lot in Portishead world. It’s true that Dummy carries echoes of many landmark albums of the preceding years: the wistful narcosis of Mazzy Star and Cocteau Twins, the skeletal hip-hop of Eric B.The band has several festival appearances scheduled for August, starting on the 15th at Route Du Rock in St. My version does have the misspelled 'Jhonnie Ray' credit on Biscuit, but the quotation marks on Dummy are the 66 99 variety. Where most of the decade’s cutting-edge electronic music was zealous about its agenda, Dummy pledged allegiance only to a mood. Some later issues also include the remix "Sour Sour Times" plus the "To Kill A Dead Man" track (from the film which led to Portishead's record contract and the cover image used on "Dummy"). PS I’ve just looked up the original pressing of this record which has the ‘66’ ‘99’ speech marks around DUMMY so I’m going to assume that the earlier 2008 release (this version) is correct for anyone with the ‘66’ and ‘99’ and the later 2017 reissue must be the version with identical speech marks.