Review by Felix on January 1, 2022.

Hi dudes, do you want to know how the perfect heavy metal production sounds? Burn The World, Portrait's fourth full-length, gives the answer. It combines a powerful depth with metallic transparency. Clear structures set the frame for organic drums (enjoy the fantastic intros of the fourth and the eighth piece, the CD bonus track), a well audible bass, natural guitars and clean vocals that cover a wide spectrum. In total, the album sounds robust, strict and airy at the same time. Do you also want to know how perfect heavy metal songs sound? Once again, 'Burn The World' gives the answer. Unfortunately, now I am speaking about the eponymous song, not the entire album.

Anyway, let's start with the ingenious opener. Speedy rhythms and an intelligently used double bass form a dynamic song that has a lot of twists and turns. The mostly high-pitched vocals increase the melodic elements without hurting the fundamental heaviness and aggression of the song. And despite its pretty complex pattern, the song also develops earworm qualities. Of course, this beginning is too good to be true and it is more or less a matter of course that the Swedish three-piece cannot keep this level. Yet this does not mean that the further material suffers from serious defects. Quite the opposite, here we have the best ouput of the group so far.

Generally speaking, the band still presents an exciting cocktail of speed and power metal which also features a few occult or rather unusual elements. The keyboard solo of 'Likfassna', for example, adds a surprising sequence to the punchy and intense number. Furthermore, it goes without saying that Per Lengstedt's vocals are evocative of King Diamond's performances and this alone guarantees somewhat esoteric and supernatural vibrations. The background vocals, for example that of 'Flaming Blood', point in the same direction. All these contributions complement the surprisingly fast rhythmic foundation. A rather relaxed tune like 'Martyrs' remains exceptional. The permanent pressure of the compositions distinguishes the Swedes from the Danish legend that introduced us to "Melissa". Compared with a band like Attic, Portrait are much less a copy of Mercyful Fate. To write it more precisely, they are no copy at all. Honestly speaking, they are rather unique - and they can rely on their musical instincts. Like many of their compatriots, they have a knack for effective melodies and they do not lack technical skills.

Of course, I am not happy until I have found a reason to lament. I understand that the atmospheric intermezzo 'Further She Rode' is part of the pretty mysterious concept, but I would not have missed these 112 seconds. The regular songs are much better and their brilliantly executed tempo changes keep the listener in suspense. A furious track like 'To Die For' is almost an orgy of speed and the excellent, vibrant drumming leaves its mark anew. No doubt, Portrait manage the epic sections as well as the rapid sequences, but I cannot kill the "Show No Mercy" fanboy in me and therefore I prefer the faster tracks. But each and every number achieves a good level, even the epic and slightly overlong closer. However, this album has the potential to fascinate heavy, speed, thrash and even black metal fans. If you belong to one of these groups, do not hesitate to give it a chance. If you do not like at least one of these styles... well, I have heard that Abba have recorded two new songs. Agnetha or Anni-Frid can provide you with the details.

Rating: 8.4 out of 10

Review by Felix on September 5, 2021.

It was September 3, 2021 when an institution of metal was pushed back into the spotlight with force thanks to the release of a new album. A band that embodies pure metal like no other and that has been releasing exclusively good to very good albums for a long time. A band that thinks about the totality of an album, which is expressed not least in fantastic artwork. A band that is known for its galloping rhythms, but also for its variability. We are talking about Portrait, of course. Or did some iron maiden think I was speaking about someone else?

The fifth full-length of the Swedes is as challenging as its predecessors, but it is also as rewarding as the four previously released monuments. The compositions still reveal a profound depth. Indeed, traditional metal does not have to be flat. This is especially true when a good dynamic is achieved through clever tempo changes, when a certain mysticism finds its expression not only in the artwork but also in atmospheric choruses ('He Who Stands') and when a strong singer, who masters even the highest notes with ease, duels powerfully and charismatically with the excellently produced instrumental fraction. Moreover, it is noteworthy that the Swedish shock troop follows its very own tactics. Of course, there are echoes of the early Mercyful Fate but neither musically nor regarding the vocals it is a copy, nowhere near! And Portrait is also separated from In Solitude by more than just their clearly better pronounced stamina. Rather, it seems to me that Portrait, with their mixture of natural toughness and their weakness for the occult, could increasingly become trendsetters themselves. The main thing is that they don't give in to gothic sounds - but at least At One With None doesn't show any sign of that. That's one of the best features of the album: although soulful sections do appear, it never becomes cheesy or superficial. Portrait manages (and this is what makes them stand out from the mass of bands) to reconcile seemingly incompatible things. Their lamenting moments still sound powerful, their despair is never delivered without pride and self-awareness. On the other hand, even in the hardest track (the outstanding 'A Murder Of Crows') they don't wallow in mere bludgeoning. The melodic note sometimes takes a back seat, but it never disappears into thin air.

My favorite song from Portrait is 'Burn The World', the actual opener from the 2017 album of the same name. It was (and still is) a larger-than-life introduction to that work. The wonderful parallel to At One With None is that this time, too, there's an almost overpowering title track at the top of the list. The opener thrills after a quiet intro with birdsong and acoustic guitar with an all-flat rolling mid-tempo part where the guitars roll out a steely carpet. The first shiver already runs down my spine, but Portrait increase the intensity once again when a melodic, melancholy guitar joins in, which gives the piece breadth and depth at the same time. Finally, the voice of Per Lengstedt - a gift from the Metal God. Clear, natural, accurate, charismatic, seemingly spanning all octaves, always serving the song and never strutting around as an end in itself. I can't praise the perfect verses of this track enough, so I'm almost glad that there are marginally less strong parts in this track as well. But to be clear, this is an absolutely brilliant introduction to the record, with melodic soloing, outstanding structure and tension from the first second to the last.

After the almost eight minutes of the first track have pushed the gate to the sound dimension of Portrait wide open, the other tracks follow almost on the same level. They, too, combine rebellious harshness with dignified grandeur. These contradictory components shake hands as if it were the most normal thing in the world. Portrait should patent their melodies - they are all so metal-compatible that there seems to be an extraordinary creative force behind them. Admittedly, the one or other almost ordinary harmony creeps in from time to time and not every single part of the carefully designed pieces reaches the highest consecrations. Nevertheless, the overall work is more than impressive. Even the above-mentioned iron maiden may rejoice, as she has left more traces in the sound of the Scandinavians than, for example, the Judas Priest, who never knew whether he wanted to break the law or fire up the turbo. But let's not worry about this fickle idiot, Portrait provide better topics.

Looking at the closer 'The Gallow's Crossing' for example, two things stand out positively. On one hand - it is a typical last piece. It bundles the strengths of the well-oiled unit for the last time, treats itself to a quiet intro and prepares for the calm after (!) the storm, which is much more pleasant to me than the calm before (!) the storm since Venom's filth from 1987. Great vocal lines, driving rhythms and metallic, classic solos give the listener provisions for the coming dry spell until the next album (in 2025?). On the other hand, and almost better - the closer is not the closer at all, haha! Okay, the bonus tracks can not keep the dizzying level of the main course, but a nice dessert it is in any case. Thereby 'Farewell To The Flesh' is the stronger of the two outsiders. The track sounds punchy, while 'The Blood Is The Life' exceptionally suffers from relatively stereotypical parts - but these appear even here only in small numbers. Thus, it is certain for me that September 3, 2021 will become a memorable day for the global metal community and especially its tradition-loving members. And it will not hurt the memory that some prosperous old gentlemen from Britain also released their new work exactly that day.

Rating: 8.6 out of 10