the Informer

On March 2, experimental rockers Portugal. The Man released their fifth studio album “American Ghetto.” Set to coincide with a North American tour, the newest record is a powerhouse of tunes to delight the band’s ardent followers.
On their official Web site www.portugaltheman.com, the band discusses the tricky task of creating their newest work: “We love SONGS. Absolutely and in every way.

“We approached with this thought and to the best of our abilities at the time wrote songs, short and to the point. I mentioned this was a heavy task to take on.

“Sometimes knowing when to stop and what to cut is more difficult than any jam out or extension of verses, cutting of choruses, noise pollutions…. I said sometimes, but really, most always this is the case.”

Portugal. The Man began in Alaska in 2004 and has since found a base in Oregon. Since “Waiter: ‘You Vultures!’” came out in 2006, the band has been keeping its fan base satisfied with fresh releases every year. “American Ghetto” maintains this tradition with a staggering volume of stellar tunes.

“The Dead Dog” kicks off the album with slick electronic beats and atmospheric rumblings. The smooth voice of John Gourley (whose instrumental responsibilities include “Vocals, Guitar, Organ, Machines,” according to the band’s Web site) captures a jazzy quality as he croons each chorus.

With Jason Sechrist on drums and Zachary Scott Carothers covering bass and other percussion, the feisty beats of “The Dead Dog” are undeniably seductive. Ryan Neighbors’ skillful use of Rhodes piano and synth add to the provocative, dangerous groove of the track.

As the album plays on, one is hit by the thumping, synthesized pulse of “60 Years.” Underscored by a biting, bluesy guitar line, the song makes its way into a chorus of chiming vocals.

After a short bridge of a cappella harmonies and synthesized sampling, a driving guitar melody ushers the song through another passionate chorus.

Gourley shows off his effortless vocal range in the opening phrase of “1000 Years.”

With his free-soaring falsetto, Gourley floats over guitar-heavy choruses and electronic, synth-happy verses.

With “Fantastic Pace,” the boys of PTM slow it down a bit and languor in the swaying melodies of this melancholy tune.
Neighbors uses a mixture of piano and synth to weave this ambience into Sechrist’s percussive pattern.

Gourley and Carothers meld their guitar and bass jams into the texture of the piece to create a delightful background for the piece.

With all the band members lending their vocals to create harmonies in the chorus, one can only imagine how beautifully “busy” the piece becomes.

“The Pushers Party” opens with the gritty beats of an old-school R&B tune.

The funky, groovy feel of the piece manifests itself in the squealing guitar riffs and soulful percussion that dominate the song.

Somehow, the electronic elements of the tune do not seem out of place amidst the overall style and actually end up adding to the jazzy swagger of “The Pushers Party.”

“American Ghetto” goes on to feature the chilling electro-heavy “Some Men,” and the upbeat bop of “When the War Ends.”

A statement from the band’s Web site gives its audience some insight into the newest record, describing it as the following: “Maybe not something for the casual listener but for those who have most of our records we think you will love it.”

This shouldn’t sway new fans from investing in this marvelous album, as it is a great look at the evolution of the band.
Perhaps it is just an assurance to older fans that they will be impressed with the newest creation from Portugal. The Man. This old fan is certainly satisfied!