The Satanic Satanist专辑介绍
All musicians have a relationship with the sounds they create throughout their careers, and Portugal. The Man is no exception. Relationships with artists serve different functions: some artists use their sounds to masturbate, some use them to have sex. Yet others use their sounds to create musical babies (that could sound trite, but give it chance)–songs that are new, exciting and eventually lead to new phonic relationships. This final category is not imperative to the creation of music and, just like in some relationships between two people, not all couples are ready to procreate. Ultimately however, those musicians that do create new life with their music present something substantial and tangible that knocks the world off its ass and forces it to reckon with this new sound.
Portugal’s The Satanic Satanist is in no way a bad album. I guarantee that it will be an aural pleasure for one’s socially awkward ears. The tracks, other than sounding a bit like Oasis at times, are well cut, catchy, and melodically agreeable. But The Satanic Satanist doesn’t go anywhere new, it doesn’t make a musical baby–it’s just good sex.
Throughout the album lead singer John Baldwin Gourley’s vocals shine with a certain power that fuels the band like photosynthesis for great lush musical foliage, while keys, synths and organs give the songs a vibrant sound. A strong influence of 1960’s classic and glam rock is prevalent throughout the album.
[uncredited photo via Planetary Group]
However, there is a certain level of creativity that the record does not surpass. Neither “People Say” nor “The Sun” are without soul and stride; they both seem to groove along to similarly sweeping chord progressions, full sunny key changes, and solid, four chord choruses. Other cuts vary somewhat but fall victim to recurrent sounds.
Unfortunately what The Satanic Satanist fails to produce is momentum. The momentum that albums like The White Album and (What’s the Story) Morning Glory? once produced almost seem to overshadow the actual records themselves (whether this is a good or bad thing is up for debate). However, the third level of the aforementioned music relationships comes from this momentum—that which begets music. For Portugal. The Man the potential is undeniably present, yet can’t be expected from The Satanic Satanist.
Portugal’s The Satanic Satanist is in no way a bad album. I guarantee that it will be an aural pleasure for one’s socially awkward ears. The tracks, other than sounding a bit like Oasis at times, are well cut, catchy, and melodically agreeable. But The Satanic Satanist doesn’t go anywhere new, it doesn’t make a musical baby–it’s just good sex.
Throughout the album lead singer John Baldwin Gourley’s vocals shine with a certain power that fuels the band like photosynthesis for great lush musical foliage, while keys, synths and organs give the songs a vibrant sound. A strong influence of 1960’s classic and glam rock is prevalent throughout the album.
[uncredited photo via Planetary Group]
However, there is a certain level of creativity that the record does not surpass. Neither “People Say” nor “The Sun” are without soul and stride; they both seem to groove along to similarly sweeping chord progressions, full sunny key changes, and solid, four chord choruses. Other cuts vary somewhat but fall victim to recurrent sounds.
Unfortunately what The Satanic Satanist fails to produce is momentum. The momentum that albums like The White Album and (What’s the Story) Morning Glory? once produced almost seem to overshadow the actual records themselves (whether this is a good or bad thing is up for debate). However, the third level of the aforementioned music relationships comes from this momentum—that which begets music. For Portugal. The Man the potential is undeniably present, yet can’t be expected from The Satanic Satanist.