The Swedish band Portrait is poised to release their sixth full-length album, The Host. Formed in 2005, they infuse a modern flair into their classic heavy metal sound. For newcomers to Portrait, the influences of early Mercyful Fate and the New Wave of British Heavy Metal are evident. The vocals of Per Lengstedt resonate with the power and operatic quality reminiscent of Bruce Dickinson‘s solo work, with a hint of King Diamond‘s falsetto.
This album is the first concept album for the band. According to guitarist and founding member Christian Lindell it’s a story dating back to 17th century Sweden. “It’s an occult tale of sword and sorcery”.
Guitarist Karl Gustafsson makes his debut with Portrait on this album. Rounding out the band is Fredrik Petersson on bass and Anders Persson on drums.
The album begins with a slow instrumental that sets the tone, before diving into ‘The Blood Covenant,’ which bursts forth with energetic guitar leads, setting a rapid pace reminiscent of early Mercyful Fate. Vocalist Per Lengstedt unleashes Halford-esque screams, while the dual guitar work of Lindell and Gustafsson takes center stage in this explosive opening track.
‘Oneiric Visions’ blasts out some Maiden like galloping riffs and Lengstedt shows the King Diamond influences showing some falsetto vocals.
‘One Last Kiss’ begins as a gentle ballad before transitioning into a robust, melodic semi-ballad, reminiscent of Dickinson’s solo work. Lengstedt’s performance notably reaches epic heights. ‘Sound The Horn’ stands out as a fast, heavy track, characterized by galloping riffs and exuding the speed and emotion typical of Portrait’s classic sound.
The album concludes with the epic 11-minute track ‘The Passions of Sophia’. As one might anticipate, this track showcases a variety of tempo and mood shifts, demonstrating that the band’s skills extend beyond straightforward, tradition-rich metal songs. This particular song reveals their progressive tendencies more than any other on the album.
Spanning approximately 70 minutes and comprising 13 tracks (plus intro), the album is a testament to the band’s evolution, showcasing their maturing music and songwriting with each new release. Brimming with traditional metal sounds and exceptional musicianship, it features a dynamic range of tempos, from galloping riffs to melodic interludes and complex guitar solos. The album is sure to satisfy long-time fans and attract newcomers alike. The recording of the album took place at JFK Studio in Sweden, while singer Per Lengstedt oversaw the mixing and production at his Perilous Productions Studio.
The Host releases June 21st on Metal Blade Records. Pre Order HERE
ALBUM REVIEW – SIX BY SIX
SiX BY SiX – Beyond Shadowland
Reviewed By: Jim Harrison
Review Score: 8.5
Progressive hard rock/metal trio SiX BY SiX are set to release their sophomore record Beyond Shadowland.
After the success of their self titled debut released in 2022 it’s exciting to have another follow up so quickly. Members, Ian Crichton (Saga), Nigel Glockler (Saxon) and Robert Berry (3.2) have created a superb listening experience that definitely fills a gap in todays music genres. Crichton’s heavy guitar melodies with Berry’s vocals drive this album flexing a strong progressive muscle. Glockler’s identifiable drum sound supplies the heart beat of this album.
The album begins with the track ‘Wren’ that showcases Berry’s vocals. Every time I listen to this track I hear new parts that keeps the listener so engaged. Track two, ‘The Arms Of A Word’ is one of my favourite songs melding a more prog rock with metal elements with the heavy guitar riffs and pounding drums.
‘Can’t Live Like This’ has a great guitar solo and has kind of a tribal beat to it. Track four ‘Obiliex’ is another personal favourite and could be hailed more of a melodic prog masterpiece. Berry’s vocals again shine on this song.
‘Only You Can Decide’ shows off an acoustic side of this album slowing things down leading into the next track ‘Titans’. This had a more heavier groove to it adding some funk elements. ‘Outside Looking In’ is another guitar-led track that has so many awesome riffs and mini solos that really highlight the song.
‘Spectre’ is a starting forward rock track and Berry’s vocals really shine on this. The guitar solo is one of the best on the album. ‘Sympathise’ is another cool track which has a classic rock vibe to it. Glockler’s drum sound mixes with the sludgy guitar perfectly, this is another heavier track. ‘One Step’ is another full on prog attack. This track is very interesting and I love the killer beat. Last track ‘The Mission’ bookends this album on a high with a fun, eclectic tone. This is another favourite track of mine and I find it finished the album off in style.
Amidst an all star trio on this album musically, vocally and lyrically this album dominates. With individual commitments and projects it may be difficult to organize tour dates; however, if schedules coincide it would be great to see them live.
SiX By SiX breaks the usual mold of a supergroup as I get a feel they have a vision that scratches an itch of creating something special when they are recording material. This album crosses so many hard rock, progressive and metal genres that I suggest this album for fans that are looking for something with more substance. Check it out and remember to play it at eleven.
If you are familiar with Heavy Temple already, then I reckon you are ahead of the game. They look like they have just left Jerry Garcia’s place, and they play heavy, doom, psychedelic, rock ’n’ roll and they are back with there second full release Garden Of Heathens.
Heavy Temple are from Philadelphia and magicked their way into the land of psydoom on the Winter Solstice of 2012. They quickly built up pace on the local Philly scene and played with the likes of Corrosion Of Conformity, Mothership and such festivals as Doom Fest and Psycho Las Vegas.
Having heavily toured for their first two EPs, Heavy Temple and Chassit, Heavy Temple took time out in 2021 to record their first full album Lupi Amoris (Wolves Of Love) which was accepted with much love, and led to their work schedule becoming even fuller. A great album, so much bass and riff-magic and that magic voice, of course.
Now they are back with Garden Of Heathens and in the bio I have spotted a genre new to me (Desert Rock). My imagination can envisage what that may sound like: dry, dusty, windy, desolate, but that definitely doesn’t describe this album or this band. I have seen lots of videos filmed in desert-like places, so maybe that is it. Maybe it’s an asthetic thing. Here you will journey on a heavily doomed, psychedelic road that starts somewhere on Height Ashbury in ’67 and leads smack dab into the modern age (maybe stopping off somewhere in Scandinavia in the ‘80s).
Vocalist High Priestess Nighthawk’s lyrics on this record stem from the American dream. The relationship to metaphors aren’t what you might think, but are rather pretty personal. Only Nighthawk herself will ever know their true meaning.
Lets talk about the music…
How to start an album? How to pick that first song? Just like that, with a mega-massive bass that gives you a mini heart flutter, and then those almost erotic, soul-grabbing vocals from the High Priestess and drums that are almost hurting my ears (I’m wearing headphones). The mix is perfect. It’s well loud and it’s pretty awesome. Extreme Indifference to Life ‘ just broke my ears and the haunting vocals with that big sound, like Grace Slick just had a musical offspring with Kyuss.
HIRAETH This track dives straight in with more of that heavy bass and a driving riff. Nighthawk’s vocals really are very captivating and kinda remind me of early Judas Priest in places (the feel, not the music). The track builds and one cannot help but pull a ‘this is great’ painful rock face when you have heard something you know is brilliant. I don’t see Heavy Temple as the classic doom/stoner band. They have so much more going on, harking back to those heady psychedelic days of the very powerful, albeit, very short summer of love, but being very keen on making it a more up to date rock/jamming vibe. ‘Hiraeth’ is a ripper of a track and goes full throttle all the way. Great solo, too.
DEVINE INDESCRETION More killer riffs, drums, and bass. I can’t make it more simple, these guys have really found their groove and the production is excellent. The album was recorded at Animal Farm Studios and track three is a stand out track. There is something very Jefferson Airplane about this track. Maybe it’s the vocals. Grace Slick also had those haunting tones that made you want to jump down the hole with Alice.
The bass is really pushing everything forward on this track. There is some great, what sounds like just a jamming, off the cuff solo with a bit of a Jimmy Page chord change thing going on. I am listening to this and I am really enjoying all seven minutes that come with a changed tempo and vibe a couple of times. I feel like like I am at some mad 60s all nighter. What a way to end a track… you got me with that one. Just awesome!
HOUSE OF WORSHIP This song could be one of those metaphors that High Priestess Nighthawk speaks of. We may think this is about religion, but it seems that all may not be so obvious. ‘House Of Worship’ is an even heavier and, maybe, slower track, that’s a bit more in the doom vein. It really reminds me of Candlemass’ Epicus Doomicus Metallicus or maybe Messiah Marcolin’s singing style. I couldn’t be more impressed by the vocals to be honest. Really unique and beautiful. The drums really come to life on this track and they are so clear to the ear. There is a ripping solo and great bass work, and the tone is killer with reverb to the max, I suspect. Lots of darkness in this track and it’s heavy, heavy, heavy.
SNAKE OIL (AND OTHER REMEDIES) We are over the half way mark. A more mellow intro with very nice drums and riffs that are constant, while that bass has lost all the reverb and is cleaner but deeper than the deepest thing in the world. More of an up tempo bluesy classic rock n roll vibe going on with maybe a hint of Motörhead. Also, do I hear an organ? A great driving rhythm, excellent pounding rock music going on here with understated gritty guitar solos and more of the 60s psychedelic jamming thing. Good rocking’ and rollin’ sounds. Nothing not to like here, folks. Almost nine mins and the jams keep coming. On the live front they must be excellent. It feels like they could revive the all nighter psychedelic raves that the likes of the Grateful Dead and Pink Floyd used to do in ’67… definitely that vibe. It’s a banger.
THE GARDEN OF HEATHENS Although I rarely use Americanisms, the title track throws us a curveball (we play cricket in the UK, so no curveball, but anyway). I have being trying to think of an album title track that was an instrumental and I can’t, at least one that isn’t an instrumental album, anyway. I suppose there are some. Ideas on postcard please. So, yes, an instrumental, with a tinge of Alice In Chains‘ Jar Of Flies. Very relaxing after all that heavy psydoom.
JESUS WEPT Still bit of a grunge thing in my ears with screaming guitar, and back too the really dirty bass tone. I kept expecting Layne Stayley to start singing, which I think is something about the key of the song (Drop D tuning?). Not really that it sounds like an Alice In Chains song, but wouldn’t that be a compliment? When Nighthawk starts singing it’s got a really nasty but good, dirty, angry feel and is so full of belief and passion. By the end of the song, we’re at a much faster pace. I can just hear everything pounding and driving with such a force that my head is going to fall off, if it rocks anymore… and a slow down to finish. Phew! Fantastic.
PSYCHOMANTEUM Jimi Hendrix has entered the building, folks! Not quite, but it’s a little Jimi-esqe maybe? Then, out of the blue, I’m on a thrashing metal train travelling at a pretty quick pace with an instrumental that could be off Exodus’Bonded By Blood. The second half gets back on track with more of the doom. A good solid tune to finish on.
CONCLUSION Just feckin’ awesome, all killer, no filler. Great production, massive sound. That’s all I’m going to say. See them live, if you can. They are bound to ‘shake your foundations’!
Garden Of Heathens is out today (April 12th) via Magnetic Eye Records.
ALBUM REVIEW – NECROT
Necrot – Lifeless Birth
Reviewed By: Jon Santitoro
Review Score: 10
Much attention (and hype) has been given to the so-called “New Wave of Old-School Death Metal” in recent years, and deservedly so. Death metal’s third generation of bands have consistently proven themselves to be talented musicians, creative songwriters, and impressive live performers. Oakland, California’s three-piece “groove and grind” juggernaut, Necrot might very well be the best of the bunch.
Expanding on the success of their sophomore effort, 2020’s Mortal, Necrot have finally returned with their much anticipated follow-up; Lifeless Birth. And needless to say, this latest release does not disappoint. Lifeless Birth is a seven song battering ram that, at it’s core, embodies everything death metal is about. No frills. No gimmicks. No BS. Just a hook and riff oriented sledgehammer guaranteed to raise hell and please both new and longtime fans.
However, Necrot is much more than just the sum of it’s parts. Founding member Luca Indrio (bass, vocals) and his band mates Chad Gailey (drums) and Sonny Reinhardt (guitars) have always exhibited amazing cohesiveness in their songwriting, boasting a much tighter sound than most of their contemporaries. And as expected; Lifeless Birth is a stalwart display of savage riffs, pummeling rhythm, razor sharp hooks and Luca’s throat scraping vocals.
As per Necrot‘s M.O., the band gets the album off to a blistering start with the opening track, ‘Cut The Cord.’ Don’t look for any melodic intros or flowery acoustics here. All you’ll find is an aggressive, groove-heavy sonic beat down in the finest OSDM tradition. ‘Cut The Cord’ is an excellent choice by the band as their first single; as it brilliantly showcases their signature style of memorable riffs and a subtle, but highly effective lead from Sonny at about 3:50 in.
The title track, ‘Lifeless Birth,’ might be the best track on the album. The pummeling rhythm section of Luca and Chad provides a stomping, relentless backdrop for Sonny’s menacing guitar work here. The song itself just feels like an approaching storm; brilliant and frightening.
‘Superior’ is the most blast-beat driven track on Lifeless Birth. No death metal album is really complete without a high-octane face ripper such as this, and ‘Superior’ delivers in full. Yet even while blasting away at full speed, Necrot always maintains their trademark catchy hooks, as demonstrated here.
The fourth song (and second single) of Lifeless Birth is ‘Drill The Skull.’ This track is an interesting departure from the norm for the band that features a much more down-tempo groove than one would typically expect. It’s placed cleverly in the track listing, and serves very well to “shake things up” a bit. A stroke of genius there. This one will undoubtedly be a fan favorite in the band’s live set, as well.
Necrot returns to their tried-and-true formula on the next track, ‘Winds Of Hell’. Nothing fancy here, just a mid-tempo grinder chock full of everything Necrot does best. Their no frills, blue collar approach to songwriting is fully evident here, and that’s not a bad thing.
The next song, ‘Dead Memories’, is a runaway roller coaster of twisting time changes that features Sonny’s best guitar leads on the album. Although the tempos change from blasts to mid-paced and back again, those razor sharp guitar hooks once again hold everything together seamlessly. This is an excellent track that displays just what talented songwriters Luca and company are.
Lifeless Birth closes out with ‘The Curse,’ an eight minute opus of straightforward destructive power. This groove-laden piledriver chugs forth like an unstoppable legion of the undead. This one is the epitome of impending doom, and a great way to finish the album.
Overall, Lifeless Birth is about as flawless of an album as one could hope for; powerful, aggressive, well-crafted and subtly brilliant at times. I’m definitely looking forward to seeing Necrot on the road and hearing these songs live.
It’s been four years since Ghost Of Orion was released by My Dying Bride. When the album was offered up in 2020, the world was reeling with the start of COVID and all the subsequent lock downs that followed. As for the album, it hit at the right time; becoming a grim, oppressive, and powerful soundtrack to reflect the time we all found ourselves in.
The band has always been prone to sweeping you up into a deeply emotional voyage of sonic dirges; embroiling your senses along the way into a whirlwind of doomed sounds. They truly are one of the more unique bands in the doom/death/gothic metal genre and it shows here on A Mortal Binding. This represents the band’s fifteenth studio recording and it’s a stunning testament to an enduring legacy that began at the start of the 1990’s.
As I attempted to gather my initial thoughts, I noticed how tight and refined the production was on this release. Much like the last record, the songs here are crisp, engaging and moving. The first track ‘Her Domain’ is completely guitar-driven and is proceeded by thick and doomy tones. Aaron Stainthorpe’s vocals are raspy and tortured sounding, but quite pronounced throughout this piece. He doesn’t let up for any reason and it’s a big statement to make on an opening track of this magnitude. At least on the next track ‘Thornwyck Hymn’ the vocals are dominated by clean singing and followed by soaring melodies that drip nothing but melancholia.
‘The Second of Three Bells’ starts up slowly and continues to pull back, until the guitars grind hard and the growls are heard. The song falls back again into what I feel is a beautifully realized track. ‘Unthroned Creed’ features some beefy guitars and probably some of Andrew Craighan’s best lead work. The lyrics fall inline perfectly and I love the line “I won’t help you anymore” repeated several times throughout the song.
Following that is the eleven minute opus called ‘The Apocalyptist’ which twists and turns with violins, heavy guitars and Aaron’s guttural vocals. I love how it rips along and then slows down to slither at a menacing pace. My ears can pick out a Ride The Lighning vibe in the guitars in one part and then suddenly hear the brilliance of a Tony Iommi riff in another part. This is my favourite track by the way.
The second to last track; ‘A Starving Heart’ again blisters along with a sweeping melody; allowing Aaron to provide clean and snarly vocals on top of it. This is a solid piece overall setting up the final track ‘Crushed Embers’ to be ushered in at a slow and deliberate pace. There’s heaping amounts of doomy goodness here, and I love the line “I waited such a long time and questioned my sanity.” The growls at this juncture work so well; punctuating the ending of the song soon after.
A Mortal Binding clocks in close to fifty-five minutes and becomes an epic long player in the process. I simply love the guitar harmonies and crystal clear production brings all that on point. Aaron Stainthorpe continues writing poetically and morbidly; getting better on every album with his lyrics. He can also switch effortlessly from clean to gnarly vocals becoming old hat to him at this point. There’s not a bad song to be found here and you can easily slot this release along side The Ghost of Orion. My favourite track is ‘The Apocalyptist’, but other tracks like ‘Her Dominion’, ‘Thornwyck Hymn’ and ‘Unthroned Creed’ are all equally good.
A Mortal Binding will be released on April 19th via Nuclear Blast Records.
