The Lords of Portland are back and melting face with their new album, Shish.
An 'Us' Type of Band
While my wife’s brother, Nick, is a big Portugal. The Man fan, my wife, and I regard them very much as a band we got into as ‘us’. We feel old looking at how far back we’ve been following this band.
Just this morning, we were reminiscing about seeing them at Terminal 5 in NYC in 2013, in support of their now modern-classic, Evil Friends. So when Portugal. The Man dropped their new album, Shish, on the same day as her birthday (11/7), we took it was a sign of something pretty awesome.
Shish is a real treat
Shish is a real treat. Any legitimate fan should be able to appreciate this record, and later we'll be surprised at who becomes a new (or bigger) fan after hearing this. I caught a copy before the release and was stunned at how friggin’ rockin’ it is. This is a band that never skimped on rocking, but on Shish they are out for blood and catchy-pop melodies all at once. It’s the fusion of styles and concepts we’ve heard bubbling for years, but it finally busts loose from Portugal. The Man on Shish. Aside from being an amazing Alternative band, they do a good hip-hop beat-driven song, and their collabs are always interesting, but right now the World needed some shred, and by God, Portugal. The Man delivers.
The First Track: Denali
Denali is a great opening track. It manages to be wailing and all over the place, making you wonder, "WTF are they about to do next in this song?" Only for everything to kick to a Drop-D riff to rival … I don't know, other people who play in Drop-D.
The riff that THEN follows is so metal it made me kill a whole bag of beef jerky before the next section got going. All of this occurred by a timestamp of 1:09. A familiar sneaker-bop, sludge fest enters as a verse only briefly before the metal tendencies GWAR their way back in.
At 1:42 we hit a pre-chorus that’s downright angelic. The mix that follows the vocals in the chorus uses just the right amount of effect against John Gourley’s falsetto. Then the drop-d comes back in, trying to break my speaker before we are in the verse again until 2:52 when the pre-chorus comes back to become a bridge. The bridge matches the hard-head-bobbing elements with the most audible we’ve heard the vocals yet. The vocals grow from a stew of sounds that are extremely well calculated. While this could have been a messy, lame attempt at a song, the reason why it is so enjoyable is because they nail the chaos. They don’t miss a beat and I'm stoked to hear the rest.
Track Two: Pittman Ralliers
I respect what is trying to be done here, but I just don’t really do Hardcore. I agree we should burn it down, so there’s something.
Track Three: Angoon
"Jump in the Fire Walk with me" - followed by several bird squawks made me realize I loved this record. I already liked it, but they just made bird cawing FIT in a song and mean it completely seriously. It’s honestly catchy af in the moment. Then, at 1:30 I’m transported to a soundscape similar to a South American, or Latin style, which perfectly suits the lyrics of that moment.
As the lyrics invoke the brutality and unlawfulness of ICE activity, Singer John Gourley reminds us that all issues goes way deeper, saying,
“NO ICE. No borders, enforcers, no owners, no new world order. More concerned with waking up when - When I close my eyes - When I close my - A tarp to collect water. Use it for shelter. Sweets that don’t spoil. You know I need my sugar. Ammo for God. And 20 Men with no future.”
He’s not pulling punches and I love it. Portugal. The Man has always been a politically aware band, but, like the rest of us, they’ve had it with the bullshit. This band has an incredibly eloquent way of rocking through their message. It’s awesome to see restrictions lifted, as uncensored activism stands front and center. Truly one of the albums best.
Track Four: Knik
A solid psych-trip that sets you adrift on a sea of chorus pedal that cements Portugal. The Man's place as not only a band here to rock, but a band that can trip you out with the best of other psychedelic acts around. This is the first track with a more ambient sheen over the top but it doesn’t lack by pulling back on the rock for a track.
The lyrics set up feelings of distance and the archetype of waiting while frozen in time. The words match the aural tone and environment we find ourselves in as well.
It is also a sort-of love song? It has lyrics saying basically, you know, you’ll be standing at oblivion with me, this is at the same time that John sings about losing his happiness as a whole. It’s very clever word play, and I'm clearly a little bit confused by it. It reflects something personal to him that either I’m too dumb to read in his lyrics, or is a bit personal and cryptic.
Either way, the next section, returns all the rocking elements we acclimated to before followed by a blistering solo that can hold with the best of any other modern guitarist attempting this or any adjacent types of music. John Gourley really flexes his guitar skills on this record, something I feel he used to be shy about but certainly never needed to. That last sentence actually requires a correction! Thank you to Reddit user U/LyndonBJumbo for straightening my facts out on this part. The blistering guitar heard in this specific portion is thanks to the skills of Nick Reinhart. Apologies for my error!
Track Five: Shish
I wrote a very long, analytical section about this song that I deleted in full. You're better off hearing the track itself than reading me blathering about it. The hook goes: "Ain't got no future. Electric loser. Gun in my hand." And damn is it good.
Track Six: Mush
A lo-fi recording of a speedy guitar riff is quickly replaced by more present drums, then the full band in a jolt that really kicks the song off. When the verse enters, the lo-fi duties split, with the drums sounding dirgy, while Gourley is loud and clear.
The riffs driving the song are punky and fast. There’s a sense of urgency here, which is obvious upon reading the lyrics, where the discussion is about standing with working class individuals. But as Portugal. The Man stands with these folks, the frustration felt towards tired, repetitive, and institutionalized problems can’t hold back anymore by the time the shouts of, “I’m on the edge!” come forth.
Track Seven: Tyonek
The opening is crafted in a way that makes one wax nostaligic. There’s a longing here for a past gone and done with. This is until 1:26, when the song kicks up the distortion with an audible + vocal ‘Whoo!’ in the background.
Showing restraint and leading you back a bit from the chaos into a different sounding part entirely, until we hear the words, “Burn the witches, shield the children,” and the song returns to a higher gear as the next several words are, “Say nothing.”
Track Eight: Kokhanockers
From left to right → Zoey, Katie, myself, and John in Colorado
When my Wife and I visited Colorado in July of 2024, Portugal. The Man delighted us with some new tracks. The moment I heard this one on record I recognized it from our trip. The reason? This one rips!
The fuzz on the guitar used for the heavier parts is drool inducing. Stylistically, this album shifts constantly. It is done in a somewhat cheeky way. I appreciate Portugal. The Man for doing what they feel is right for their own song(s).
You simply have to love moments where the lyrics go, “Don’t pop the pink balloon,” and before allowing everything to progress once again a subtle popping sound is heard. It’s a subtle nuance that fits the humorous and sarcastic touch this band has always applied to its music and life generally. I can see how that statement can be taken the wrong way, but I say it with nothing but respect for a gang of folks who are trying to take life seriously and not all at the same time.
Track Nine: Tanana
Tanana is possibly the most reminiscent song resembling past tunes released by Portugal. The Man. The difference here is a really sick production job, a sheen to the track that they were always capable of, but you didn’t hear as much. You get lost while air-guitaring to this one.
At shows, I am terrible at recalling lyrics and end up just kind of melodically slurring along the lines of what is said. I fully predict this will be the one that not only triggers that, but will be my most out-of-key moments of singing back.
This one not only flexes PTM studio skills best along the whole record, it does so in the smoothest of ways. the kind of song where you dance doing that forward humping motion with hands in front and back to you with a, “Yeah we ballin’” look on. Don’t pretend like you don’t know what I’m talking about.
Track Ten: Father Gun
So much happens in so little time on Father Gun, I already know why the closer was worth the wait till the end of the record. It's dreamy pads quickly give way to a cacophonous scenario that seems to struggle to stay together, but no one in the band is confused at all. They thrash in with the energy they have managed to manifest whenever needed elsewhere through this album. This closing track manages to sway in both directions; it's a perfect conjunction with dream-pop-esque american-psychedelic, and the hard(er)-rock Portugal. The Man has thrown in your face unapologetically for like 35 minutes so far.
Conclusion
I always hear from people, "Portugal. The Man, yeah, I kind of know them. I'm yet to really get into them." Well lucky for those folks the time is now and the record is Shish. If this shit doesn't get your blood pumping, you really need to check your pulse to see if you're dead. 'Nuff said!
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