Ten years in the wake of their previous release, experimental trip-hop trio Portishead [ tickets ] are making a comeback with "Third," a collection of melancholy reflections, psychedelic drifting and aggressive dance beats.

On "Third," the group takes more musical risks--straying from their trademark seductive dub and electronica tranquility, and finding their way into forceful, machine-gun rhythms, early Pink Floyd-like psychedelia and anxiety-ridden percussion effects. Tying it all together is the gloom and desperation of vocalist Beth Gibbons, who gives the songs a sense of balance and stability--regardless of the chaos taking place. Gibbons' eternal sadness doesn't just define Portishead in general; with "Third," she brings a fragile gentleness that breathes a much-welcomed air of calm into even the most intense tracks. When singing lines like: "I don't know what I've done to deserve you," she artfully pairs optimism and lonely, wailing sadness. The most organically developed track seems to be "The Rip," a gorgeous, vocal-driven pondering that slowly builds into a cathartic, mesmerizing trance. Unlike many of the tracks, "The Rip" is defined by smooth, elevating sounds, rather than abrasive, off-kilter jolts like those in "Plastic" and current single "Machine Gun." Gibbons' unexpected and strained acoustic "Deep Waters" conjures up visions of Audrey Hepburn giving "Moon River" a go in Breakfast at Tiffany's. It's not especially good, but she's charming enough.

If "Deep Waters" is the album's worst, "Small" is probably its best. This track begins like a sultry whisper and morphs into a serious acid-trip mix of dub beats, spacey effects and keyboard chords. "Magic Doors," a powerful, climaxing blend of cowbell thumps and orchestral atmosphere, is yet another example of what makes Portishead so distinct and wonderful. By the end of "Third," the trio has proven that, even after a decade-long hiatus, they are still innovative front-runners in this genre.