Portugal. The Man thrives in a music scene often reluctant of drastic change in a band's sound. Meanwhile, the Alaskan natives have spent the last seven years transcending and switching gears entirely with each new release, and pulling it off well. Having originally dabbled in experimental prog, Portugal went on to create a loud, bluesy rocker (2007's Church Mouth), an arty psychedelic album (2008's Censored Colors), and a self-described "hip-hop" record on 2010's American Ghetto.
But enough of the tired genre hashing; if there's one thing leader John Gourley can craft, it's a fucking hook. This guy fluently churns out pop songs that catch like they were labored over for months. In fact, until last year, P.TM had managed to release an album every year since emerging with their stunning debut, Waiter: You Vultures! in 2006. Now, they've teamed with Danger Mouse to prodcue their latest, and second on Atlantic Records, Evil Friends.
Like the previous In the Mountain, In the Cloud, this is an album composed with distinction, yet maintains a formulaic approach to songwriting. On the surface, some of these twelve tracks sear superficially, with an initial pleasing purpose. Listen closely though, and you'll hear the underlying nuances that deem Brian "Danger Mouse" Burton the high profile producer he is. On "Modern Jesus", it's his way of weaving layered synthesized rhthyms through otherwise simplistic song structures, as a sort of colored ribbon. He also recognizes how to best pronounce Gourley's signature vocal styles. His trailing delivery in the verse of "Hip Hop Kids" floats through texturally rich air. The familiar "ooh, ahh" falsettos spanning the atmospheres convey the heft embodying Burton's engineering.
What lies between the Portugal of now and yesterday is space. Not much room existed for tricks in earlier works, where songs were too occupied by wild polyrhythms, massive riffs or bolstering drum and bass. This lends to the issue a band - since recognized for its unique sound and craftsmanship - faces when achieving greater success: How to approach accessibility wile maintaining originality.
No doubt, Portugal's music has since become a more approachable listen, even while immersing in several designs on Evil Friends. Despite the confident advance, they have clearly shed some of their youth in way of songwriting. Don't get me wrong; this is a strong group of musicians, capable of emphatic, jovial, even soulful grooves (the gospel-esque "Holy Roller (Hellelujah)" proves just that).
It's not that Evil Friends is a bad record. Longtime fans, however, may find what's offered isn't quite what they were hoping for. Although, there really is something here for everyone. One thing is for sure; Portugal. The Man as a group have evolved and earned their spot on the Atlantic roster. But this is a group who flourish in creative freedoms. Let's hope those are never stifled.
But enough of the tired genre hashing; if there's one thing leader John Gourley can craft, it's a fucking hook. This guy fluently churns out pop songs that catch like they were labored over for months. In fact, until last year, P.TM had managed to release an album every year since emerging with their stunning debut, Waiter: You Vultures! in 2006. Now, they've teamed with Danger Mouse to prodcue their latest, and second on Atlantic Records, Evil Friends.
Like the previous In the Mountain, In the Cloud, this is an album composed with distinction, yet maintains a formulaic approach to songwriting. On the surface, some of these twelve tracks sear superficially, with an initial pleasing purpose. Listen closely though, and you'll hear the underlying nuances that deem Brian "Danger Mouse" Burton the high profile producer he is. On "Modern Jesus", it's his way of weaving layered synthesized rhthyms through otherwise simplistic song structures, as a sort of colored ribbon. He also recognizes how to best pronounce Gourley's signature vocal styles. His trailing delivery in the verse of "Hip Hop Kids" floats through texturally rich air. The familiar "ooh, ahh" falsettos spanning the atmospheres convey the heft embodying Burton's engineering.
What lies between the Portugal of now and yesterday is space. Not much room existed for tricks in earlier works, where songs were too occupied by wild polyrhythms, massive riffs or bolstering drum and bass. This lends to the issue a band - since recognized for its unique sound and craftsmanship - faces when achieving greater success: How to approach accessibility wile maintaining originality.
No doubt, Portugal's music has since become a more approachable listen, even while immersing in several designs on Evil Friends. Despite the confident advance, they have clearly shed some of their youth in way of songwriting. Don't get me wrong; this is a strong group of musicians, capable of emphatic, jovial, even soulful grooves (the gospel-esque "Holy Roller (Hellelujah)" proves just that).
It's not that Evil Friends is a bad record. Longtime fans, however, may find what's offered isn't quite what they were hoping for. Although, there really is something here for everyone. One thing is for sure; Portugal. The Man as a group have evolved and earned their spot on the Atlantic roster. But this is a group who flourish in creative freedoms. Let's hope those are never stifled.
