It's Gibbons who is out of season, out of place, out of time; she sees beauty in the changing of fall's leaves, but fixates only on the inevitable bitter chill lurking in the heavy shadows of autumn. Not since Frank Sinatra was signed to Capitol, or Stephin Merritt was composing his 69 love songs, has anyone made so remarkable and unforgettable a concept album about romance; love's first flush warms like springtime, but its inevitable last gasp is frigid as a blizzard. Gibbons, reduced to a shadow during her days whispering over Geoff Barrow's laconic beats and hushed melodies, reveals herself a singer of remarkable range; she's Billie Holiday lost in the folk club, Dusty Springfield casing the cabaret, a fallen angel fronting a church choir. Those seeking familiar Portishead trademarks--trip-hop that stumbles slightly, like it's woozy with hangover, and production work from Adrian Utley--will find bits of what they've been looking for during that band's five-year hiatus. But this is more a massive attack of those tremulous late-night blues, when the bars shut down and you're left only with an empty glass and your own empty arms for warmth and comfort. Sounds depressing as hell, eh? Damn right, he said, bearing the smile of someone warmed and comforted by the next best thing.