极 颜 - [ Trip-Hop 11期 ] (Portishead) - Greatest Hits 精选：潮湿胶片与破碎心碎的黑色电影之声 的评论
歌手简介：波提斯黑乐队，1991年成立于英国布里斯托，是定义Trip-Hop美学“布里斯托之声”的三大支柱之一。乐队由 Geoff Barrow、Beth Gibbons 和 Adrian Ut...
《Sour Times》前奏那个《碟中谍》采样一出来，整个人就进入了一种谍战片的紧张氛围。Beth唱“没有人爱我，是真的”的时候，那种酷炫表象下的绝望，比任何嘶吼都让人心碎。这首歌陪我度过了很多个怀疑人生的夜晚。
Portishead are the sound of a heart breaking in slow motion. What sets them apart from Massive Attack is this intense, almost unbearable vulnerability. Massive Attack are urban and cool; Portishead are intimate and raw. Beth Gibbons doesn't just sing pain, she embodies it. "Roads" is almost too much to handle.
《Roads》是我听过最悲伤的歌，没有之一。那几句简单的钢琴，Beth近乎哭泣的嗓音，每次听都像有人用手攥住我的心脏。它没有任何花哨的技巧，只有赤裸裸的情感，但就是这种赤裸，拥有摧毁一切心防的力量。
The leap from *Dummy* to *Third* is astonishing. *Dummy* is a classic, a perfect encapsulation of a time and place. But *Third* is something else entirely. "Machine Gun" is a brutal, brilliant reinvention. They refused to be nostalgia act and created something challenging and new. That takes immense courage.
《Mysterons》作为《Dummy》的开场曲，太有仪式感了。那种生锈飞船驶入迷雾的感觉，幽灵般的采样和Beth飘渺的吟唱，一下子就把我拽进了他们创造的那个潮湿、阴郁、复古又未来的世界。这张专辑我听了二十年，依然每次听都像第一次。
Great article! One thing that's crucial is the use of samples, not as beats, but as atmosphere. The crackle, the hiss, the degraded quality of the sound – it's not a flaw, it's a feature. It creates a sense of memory, of something old and damaged, which perfectly matches the emotional content.
《Only You》听起来像一首可以唱的流行歌，有清晰的旋律和副歌，但Beth的声音里总有一种若即若离的疏离感，好像在恳求，又好像在拒绝。Adrian Utley的吉他在背后制造着不安的噪音，让整首歌在美好表面下暗流涌动。这就是Portishead的魔力。
The comparison to Massive Attack in the related review is spot on. Massive Attack are the city at night, cold and vast. Portishead are the lonely room within that city, where one person is falling apart. Both are essential, but Portishead's pain is more intimate, more difficult to witness.
作为一个学声音设计的，Geoff Barrow对黑胶采样和刮擦声的运用是我的圣经。那些嘶嘶声、噼啪声、失真感，被他用成了一种情感表达的工具，让音乐有了“旧”的温度和“破”的美感。
《All Mine》里那种偏执的占有欲，被Beth唱得像一首失控的赞歌。从低语到近乎呐喊，她展现了声音中强大的戏剧表现力。这首歌里的弦乐和铜管也用得极好，宏大而紧迫，像一场注定失败的爱情的进行曲。