Geoff Barrow of Portishead has a candid take on the music that gets him going - or not. In an interview, he confesses that his own band's 90s classics, like 'Dummy,' are precisely the kind of music he'd rather not be associated with when it comes to intimate moments.
"It makes me think: 'That's really chilled, man.' But people are only listening to Beth's voice, not what she's saying," Barrow explains, implying that his band's iconic sound is often reduced to a single vocalist's emotive delivery. "I've had people actually say 'My daughter over there was made to your music'...and I'm like 'fuck off.' I can't think of anything worse to make love to."
This statement is reflective of Barrow's perspective on his own band's legacy - where their sonic experiments have been transformed into the backdrop for countless romantic entanglements. The idea that their 90s albums were so influential yet also perceived as "chilled" music may be jarring, especially given the genre-defying nature of Portishead's sound.
In contrast to this sentiment, Barrow expresses his enthusiasm for film and his recent foray into cinematic storytelling with 'Game.' Having found inspiration in J.G. Ballard's 'Concrete Island' and adapting it into a feature-length narrative, Barrow reveals that he initially aimed to create a horror film before shifting focus to the end of rave culture.
"We wanted to capture the way the rave scene went from free festivals to something more corporate," he explains. This sentiment underscores his deep connection to his hometown of Portishead and its role in shaping his musical tastes.
Barrow's journey as an artist has been marked by numerous creative endeavors, including Beak> with Will Young, a collaboration that emerged organically through mutual friends. Despite the challenges associated with managing multiple projects simultaneously, Barrow remains driven by his passion for storytelling and sound exploration.
As he prepares to screen 'Game' at the historic Clevedon Curzon cinema in Portishead, Barrow reflects on his own musical journey, tracing it back to a pivotal moment when he played drums for a three-piece band at a caravan park. The memories of that early performance serve as a reminder of where his love of music truly began.
When asked about songs that evoke strong emotions, Barrow cites Public Enemy's 'Contract on the World Love Jam' and Low's 'Plastic Cup,' both tracks whose powerful openings leave him in awe. He also shares insight into Invada Records' early days when the label utilized Myspace to facilitate connections between artists.
Throughout our conversation, it becomes clear that Geoff Barrow remains an artist driven by his artistic vision rather than external expectations. As we navigate the complexities of the music industry and its myriad challenges, Barrow's perspective serves as a refreshing reminder of why music truly matters - not necessarily for the accolades or commercial success but because it has the power to create connections between people on a fundamental level.
"It makes me think: 'That's really chilled, man.' But people are only listening to Beth's voice, not what she's saying," Barrow explains, implying that his band's iconic sound is often reduced to a single vocalist's emotive delivery. "I've had people actually say 'My daughter over there was made to your music'...and I'm like 'fuck off.' I can't think of anything worse to make love to."
This statement is reflective of Barrow's perspective on his own band's legacy - where their sonic experiments have been transformed into the backdrop for countless romantic entanglements. The idea that their 90s albums were so influential yet also perceived as "chilled" music may be jarring, especially given the genre-defying nature of Portishead's sound.
In contrast to this sentiment, Barrow expresses his enthusiasm for film and his recent foray into cinematic storytelling with 'Game.' Having found inspiration in J.G. Ballard's 'Concrete Island' and adapting it into a feature-length narrative, Barrow reveals that he initially aimed to create a horror film before shifting focus to the end of rave culture.
"We wanted to capture the way the rave scene went from free festivals to something more corporate," he explains. This sentiment underscores his deep connection to his hometown of Portishead and its role in shaping his musical tastes.
Barrow's journey as an artist has been marked by numerous creative endeavors, including Beak> with Will Young, a collaboration that emerged organically through mutual friends. Despite the challenges associated with managing multiple projects simultaneously, Barrow remains driven by his passion for storytelling and sound exploration.
As he prepares to screen 'Game' at the historic Clevedon Curzon cinema in Portishead, Barrow reflects on his own musical journey, tracing it back to a pivotal moment when he played drums for a three-piece band at a caravan park. The memories of that early performance serve as a reminder of where his love of music truly began.
When asked about songs that evoke strong emotions, Barrow cites Public Enemy's 'Contract on the World Love Jam' and Low's 'Plastic Cup,' both tracks whose powerful openings leave him in awe. He also shares insight into Invada Records' early days when the label utilized Myspace to facilitate connections between artists.
Throughout our conversation, it becomes clear that Geoff Barrow remains an artist driven by his artistic vision rather than external expectations. As we navigate the complexities of the music industry and its myriad challenges, Barrow's perspective serves as a refreshing reminder of why music truly matters - not necessarily for the accolades or commercial success but because it has the power to create connections between people on a fundamental level.
So yeah, I'm feeling Geoff Barrow right now... his honesty about Portishead's legacy is spot on 
, like people only remember Beth's voice and not the actual artistry that goes into their sound 
. It's crazy how much influence they've had, but also kinda sad that it's often reduced to a "chill" vibe 
. On a more positive note, I'm loving his new movie project 'Game' - it's so cool to see him exploring film and storytelling 
! And I'm also stoked about his collab with Will Young, Beak> is always on point 
. Love how he stays true to himself and his art, no matter what the industry throws at him 
I read this interview with Geoff Barrow and thought it was pretty interesting that he doesn't want his own band's music associated with intimate moments lol, like what even is music for love if not 'Dummy'? 
At the same time, I can kinda get where he's coming from - sometimes people just reduce art to one thing. But then again, that's also kinda why people still connect to it on a deeper level... Anyway, his new film project Game sounds pretty cool! Have you guys seen it? 
I think what really gets me about this whole situation is how our perceptions can be so skewed, you know? People see Portishead's music as all chill and relaxing, but Geoff Barrow himself is like, "Uh, nope." It's like we're only hearing Beth Gibbons' beautiful voice, not the entire sonic tapestry that Barrow created. And it makes me wonder, what else are people really listening to? Are they just tuning in to the surface level or are they missing out on the deeper meaning and complexity behind it all?
, I mean, who doesn't love 'Dummy'? But at the same time, I can see what he's saying - it's easy to get caught up in just Beth Gibbons' voice and forget about the rest of the instrumentation. 
On a separate note, I'm loving his new project Game! It sounds like something really special is coming out... 
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. It's refreshing to see him exploring different mediums beyond music. And that he's not afraid to experiment with new sounds and ideas - like his collaboration with Will Young on Beak> 
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. That DIY ethos is still alive and well in the music scene, and it's inspiring to see artists like Barrow pushing boundaries and taking risks 
. I mean, 'Dummy' is like a rite of passage for anyone who's been around since the 90s. But at the same time, I can see what he means about people only hearing Beth's vocals and not the full depth of their sound. Maybe it's just me but sometimes I get lost in the beats and forget there's even a vocalist 
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. 'Game' sounds like a game-changer (pun intended). I love how he's exploring his passion for storytelling and sound exploration. It's refreshing to see an artist stay true to themselves and not compromise on their vision 
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. Anyway, I'm hyped to see 'Game' on the big screen - Geoff Barrow is an artist who truly understands what it means to create something special 
... its how we perceive music and art in our personal spaces. like geoff barrow says, his own band's classics are super iconic and romanticized, but he kinda wishes ppl wouldn't associate them with intimacy lol. it makes you think about how music can take on a life of its own and become something else entirely than what the artist intended.
. it's like, the real value of music lies in the connections we make with others through it, whether it's a shared memory or an emotional response. that's what makes art truly powerful 
! It's crazy how our own band's iconic tracks can be reduced to just one person's vocals, you feel? I mean, I love Portishead as much as the next fan, but it's wild to think that people are only listening to Beth's voice and not really grasping what Geoff is going for. He's all about exploring sound and storytelling, which is something I can really get behind 
! I love that he's using J.G. Ballard as inspiration - that guy's work is like, whoa. It's awesome to see Geoff pushing boundaries in a new way and exploring the darker side of rave culture.
and not think about the rest of the instrumentation or the experimental vibes they brought to the table. but at the same time, I can see why he'd be annoyed if people are making love to his music lol
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. It's refreshing to see someone who still cares deeply about the art form he's passionate about, even when it gets tough 