Sampling — Portugal, The Man

PORTUGAL. THE MAN
THE SATANIC SATANIST
Equal Vision Records, 2009

By Nick McGregor

Over the course of four albums, Portland, Oregon-by-way-of-Wasilla, Alaska indie rockers Portugal. The Man have waffled between an experimental approach (hinted at by their befuddling name) and a straightforward indie pop sound, flecked with touches of psychedelia and blues. The band’s 2005 album Church Mouth, for instance, could best be described as Zeppelin-esque funk-rock, while their 2007 release Censored Colors split the difference between punchy pop gems and rambling five-minute free-jazz instrumentals. Both albums were spectacular, but they’ve got nothing on this year’s The Satanic Satanist, the band’s finest to date and one of the most pleasurable records of 2009.

Belying its confrontational title, The Satanic Satanist kicks off with a cascade of crunchy guitars and warm organs on “People Say,” which expertly juxtaposes lyrics like “What a lovely day/Yeah we won the war” with “May have lost a million men/But we got a million more.” From there, P.TM dredges up their sultry influences on “Work All Day,” which features lead singer/songwriter John Baldwin Gourley’s crystalline falsetto splayed over the top of backing vocals from bassist/percussionist Zachary Carouthers and multi-instrumentalist Ryan Neighbors. And “Lovers In Love” combines speedy bass lines, sparkling pianos, and beautiful layers of vocals to sound like the lead single from a ‘70s action/romance flick.

“The Sun” could be the perfect distillation of Portugal. The Man’s ethos, with soaring hooks, grandiose strings, and hopeful lyrics (“we are all just lovers”) adding up to a perfectly postmodern hippie anthem. Wicked wah-wah guitar punctuates “The Home,” which, according to the lyric sheet provided with The Satanic Satanist, references the expatriation Gourley’s father underwent in the ‘70s when he left the continental United States for a life on the frontier fringe in Alaska. “Guns & Dogs” furthers that mythical journey, referencing the two necessities of life in the isolated North Country (hometown Wasilla gal Sarah Palin would probably appreciate the mavericky sentiment). And “The Woods” is Gourley’s version of that story, with a creepy, psychedelic backbeat propping up the singer’s Bowie-like larynx.

“Do You” packs a spooky, ‘90s alt-rock-like punch not found on the mostly happy-go-lucky The Satanic Satanist, before “Everyone Is Golden” returns to the affectionate P.TM template. “Let You Down” is the album’s sole experimental track, with a muddied organ riff resonating around Gourley’s mournful chants, before closer “Mornings” offers a symphonic take on nature’s beauty. That song is the only one on the album to clock in over four minutes, encapsulating P.TM’s desire to release an accessible and enjoyable counterpart to their more complex past albums.

Provided there’s an indie rock god that rewards hardworking bands, The Satanic Satanist should help Portugal. The Man achieve true stardom.