We will never be done with Henryk Górecki, the Polish composer whose Symphony No. 3 won some obscure cultural lottery by entering the popular consciousness in a way 99.999 percent of new orchestral works do not. The work is quite simply deathless: Just three years ago, avant-garde saxophonist Colin Stetson offered his own version. Stetson, normally associated with more pitiless and hair-raising stuff, like the score for the modern horror classic Hereditary, bowed before the solemnity and the soft curves of Gorecki’s piece with a faithful interpretation, as does nearly everyone who approaches it. And now comes Beth Gibbons—the voice of Portishead, and thus, by extension, the purveyor of trip-hop’s most vivid bad moods. Gibbons is not a powerful singer in the athletic sense—she’s never going to threaten the structural integrity of a chandelier. But her grainy, sour wail, coated with streaks of dried spilled coffee and nicotine stains, strikes deep chords of clammy fear, of desperation, of vulnerability.