Year : 2014 Style : Heavy Metal Country: Sweden Audio : 320 kbps + scans Size : 112 mb
Bio:
The wicked child known as Portrait was spat out from the mouth of Hell in 2006. That was when the regular gatherings of five men in the small town of Kristianstad, Sweden, would begin to result in genuine, sinister heavy metal of a kind not heard in ages. The band went on to record its first demo tape "Welcome to my Funeral", which would take the underground by storm.After the equally successful 7"EP "Into the Nothingness" (New Iron Age, 2007) and a number of gigs in Northern Europe already growing big, Portrait closed a one-album deal with the German independent labels Iron Kodex and High Roller Records. The band's self titled debut record would be a high selling release, and receive equal praise from magazines like Terrorizer, Rock Hard and Sweden Rock as from the underground press.Not long after the release of this album, the band, not fully content with some members' performances, saw the need to regroup. Talented singer Per Karlsson made his celebrated live debut with Portrait on a show in Copenhagen, and the quintet could march onward. Stronger than ever before, they went on an 11 date European tour, followed by appearances on festivals like Sweden Rock, Keep it True, Hole in the Sky, Hell's Pleasure, Headbangers Open Air and Up the Hammers.In the autumn of 2009, the composing of a follow-up to the critically acclaimed debut album had started. The band firstly entered Berno Studio (Malmö, Sweden) to record the odd two songs for the 7"EP "The Murder of All Things Righteous", released through High-Roller Records in March, 2010.After joining the roster of Metal Blade Records, Portrait would finally enter Necromorbus Studio (Stockholm, Sweden) to record their sophomore album, "Crimen Laesae Majestatis Divinae".
Album:
The band comments: "Crossroads is a sevenfold blessing and a curse to the dying music scene, soaked by the untouchables, yet undeniable album The first single, In Time 'was also the first song we for Crossroads' have written and. one more likely to be straight pieces of the disc. bang or be banged! "The pitiless Swedish metal monster portrait was born in 2006 with the intention of wiping out the entire world."This is our most important album in many ways, and with the result, we could not be happier. For me personally Portrait finally become the band who I've always wanted to belong to, and we are hungrier than ever. The new album will speak for itself, and the 2014 is one of truth and conquests - beware "- Christian Lindell, guitar
Line Up:
Per Karlsson - Vocals (2008-present) - See also: Overdrive, ex-Unchained Christian Lindell - Guitars - See also: ex-Helvetets Port, ex-Cross Bow David Olofsson - Bass (2011-2012), Guitars (2012-present) - See also: Hands of Orlac, ex-Decapitation, ex-Morier, ex-Ulvnatt, ex-Oak Cab Castervall - Bass (2012-present) - See also: ex-Hypnosia, ex-Funeral, ex-Birdflesh (live), ex-Incinerator Anders Persson - Drums
Tracklist:
01. Liberation 01:43 instrumental 02. At the Ghost Gate 06:52 03. We Were Not Alone 05:00 04. In Time 05:00 05. Black Easter 05:37 06. Ageless Rites 04:56 07. Our Roads Must Never Cross 04:35 08. Lily 09:04
Portrait - Burn The World (Digipak Edition) (2017)
Year : 2017 Style : Heavy Metal Country: Sweden Audio : 320 kbps + all scans Size : 117 mb
Bio:
The wicked child known as Portrait was spat out from the mouth of Hell in 2006. That was when the regular gatherings of five men in the small town of Kristianstad, Sweden, would begin to result in genuine, sinister heavy metal of a kind not heard in ages. The band went on to record its first demo tape "Welcome to my Funeral", which would take the underground by storm.After the equally successful 7"EP "Into the Nothingness" (New Iron Age, 2007) and a number of gigs in Northern Europe already growing big, Portrait closed a one-album deal with the German independent labels Iron Kodex and High Roller Records. The band's self titled debut record would be a high selling release, and receive equal praise from magazines like Terrorizer, Rock Hard and Sweden Rock as from the underground press.Not long after the release of this album, the band, not fully content with some members' performances, saw the need to regroup. Talented singer Per Karlsson made his celebrated live debut with Portrait on a show in Copenhagen, and the quintet could march onward. Stronger than ever before, they went on an 11 date European tour, followed by appearances on festivals like Sweden Rock, Keep it True, Hole in the Sky, Hell's Pleasure, Headbangers Open Air and Up the Hammers.In the autumn of 2009, the composing of a follow-up to the critically acclaimed debut album had started. The band firstly entered Berno Studio (Malmö, Sweden) to record the odd two songs for the 7"EP "The Murder of All Things Righteous", released through High-Roller Records in March, 2010.After joining the roster of Metal Blade Records, Portrait would finally enter Necromorbus Studio (Stockholm, Sweden) to record their sophomore album, "Crimen Laesae Majestatis Divinae".
Album:
Three years on from the release of Crossroads Swedish heavy metallers PORTRAIT are back with their third studio album, Burn The World.The new record begins with a short instrumental track, Saturn Return, with the sound gradually growing in volume before orchestral vocals begin and the introduction of an organ – it almost sounds as if it has just come from one of the Star Wars films.It flows into the title track, which opens with a fast tempo riff from guitarist Christian Lindell, and kicks into the beginnings of a typical heavy metal track. The riffs continue to grow with the track slowly picking up pace before suddenly slowing down and going into a solo, rapidly picking up pace once again as the screams of Per Lengstedt signal the start of the vocals. The track itself echoes similar sounds from the likes of JUDAS PRIEST, particularly the vocals, but is a solid effort for a title track.The overall sound is pretty much the same throughout, with PORTRAIT showcasing just what heavy metal is all about, but each track is different enough that you can identify each one easily after listening to it enough times. The only track which is completely different from the rest on the entire record is Further She Rode, which is an acoustic instrumental lasting just under two minutes. It’s not entirely clear why this particular track is on the record – it doesn’t follow on from the previous track and doesn’t lead into the next, but is just there in the middle of the album. Whether it’s to give listeners an opportunity to rest their ears before kicking right back into the swing of things is unclear.Apart from that there isn’t really too much more to say about Burn The World. The problem when you get a band like PORTRAIT whose focus is on the classic style of heavy metal is that it is very hard to be unique. There’s no point reinventing the wheel, but each band has their own sound and as a result they try to record as many tracks in a similar fashion.Anyone who picks up a copy of the album or hears any of the tracks online will know that this is a heavy metal album through and through, there’s no question about it – but that’s it really, it’s just another heavy metal album which will go alongside the hundreds of other records released across the world.That’s not taking anything away from the quality of the record. The overall sound is well put together, the vocals are on point and it is a true showcase of classic and modern heavy metal combined into one. On the whole, PORTRAIT have recorded a good, solid record and it is definitely well worth a listen, and will be a good addition to any heavy metal collection.
Line Up:
Per Lengstedt - Vocals (Overdrive, ex-Unchained) Christian Lindell - Guitars (ex-Helvetets Port, ex-Cross Bow) Fredrik Petersson - Bass (Nidhöggr, ex-Oppression, ex-The Goddamned, ex-The Ancients Rebirth, ex-Autopsy Torment (live), ex-Perish) Robin Holmberg - Guitars (Vampire, ex-Inverted Cross, ex-Mister Green, ex-The Shattering, ex-Dissectum, ex-Leprosy, ex-Schizophrenia, ex-New Keepers of the Water Towers) Anders Persson - Drums
Tracklist:
01. Saturn Return (Intro) 00:54 instrumental 02. Burn the World 06:14 03. Likfassna 05:58 04. Flaming Blood 05:14 05. Mine to Reap 05:20 06. Martyrs 07:45 07. Further She Rode 01:52 instrumental 08. The Sower's Cross 03:30 (Bonus Track) 09. To Die For 04:32 10. Pure of Heart 08:49
Year : 2021 Style : Heavy Metal Country: Sweden Audio : 320 kbps + all scans Size : 125 mb
Bio:
The wicked child known as Portrait was spat out from the mouth of Hell in 2006. That was when the regular gatherings of five men in the small town of Kristianstad, Sweden, would begin to result in genuine, sinister heavy metal of a kind not heard in ages. The band went on to record its first demo tape "Welcome to my Funeral", which would take the underground by storm.After the equally successful 7"EP "Into the Nothingness" (New Iron Age, 2007) and a number of gigs in Northern Europe already growing big, Portrait closed a one-album deal with the German independent labels Iron Kodex and High Roller Records. The band's self titled debut record would be a high selling release, and receive equal praise from magazines like Terrorizer, Rock Hard and Sweden Rock as from the underground press.Not long after the release of this album, the band, not fully content with some members' performances, saw the need to regroup. Talented singer Per Karlsson made his celebrated live debut with Portrait on a show in Copenhagen, and the quintet could march onward. Stronger than ever before, they went on an 11 date European tour, followed by appearances on festivals like Sweden Rock, Keep it True, Hole in the Sky, Hell's Pleasure, Headbangers Open Air and Up the Hammers.In the autumn of 2009, the composing of a follow-up to the critically acclaimed debut album had started. The band firstly entered Berno Studio (Malmö, Sweden) to record the odd two songs for the 7"EP "The Murder of All Things Righteous", released through High-Roller Records in March, 2010.After joining the roster of Metal Blade Records, Portrait would finally enter Necromorbus Studio (Stockholm, Sweden) to record their sophomore album, "Crimen Laesae Majestatis Divinae".
Album:
When I was a diesel mechanic, I was regularly married to certain trucks. If you did a PM on it, you were now the expert on the truck. If the jackass driver filled it with gasoline instead of diesel, and you were the one that dropped the tanks and flushed the system, it was yours forever. If the Jakes and cruise control stop working and you spend eight hours ripping the entire dash apart to rewire everything that fried, you were definitely married to that truck. And, when that truck rolled back into the yard, everyone went quiet. They all knew you’d be dropping everything and your day would be in or under that piece of shit. They were quiet because you hate that fucking truck and you threw your favorite wrench set across the shop to show how much you hate it. And, as I was married to Kenworth Karen, I’m married to anything related to King Diamond and Mercyful Fate here at AMG. But, just like that gravel spreader whose hydraulics stopped working on the job site, I know this is my fault. But, I have no regrets. For all the Karens out there, there are also plenty of satisfying jobs pulling into the bay. Specifically, the Attics, Candles, and Portraits.There isn’t anything novel in the way these bands operate. But, I’m rarely disappointed with their output. Sweden’s Portrait has been around for a long time, trying to incorporate yet pull away from their Mercyful Fate copycat debut. What they’ve been able to achieve in their fifteen-plus-year existence is smoother productions, stronger vocals, and interesting meldings of King Diamind / Mercyful Fate and early-’90s Iced Earth. Twenty-seventeen’s Burn the World had one of my favorite masters of that year. It was smooth, old-school, and highly dynamic. But I’ll be frank with you, At One with None is nowhere near as dynamic as its predecessor. Like, not even close. Why they let anyone squash their master as badly as they did is beyond me. Thankfully the tunes are good enough to keep me from cringing at the brick-walled product.The record’s compression is clear in a couple of my favorite songs on the album. The back-to-back “Curtains (The Dumb Supper)” and “Phantom Fathomer” lean heavily on Night of the Stormrider and Burnt Offerings-era Iced Earth. The result is great bass presence, killer gallops, and passionate vocals. Both have those choruses that are so pleasing that I feel my eyes closing and lungs filling with a deep breath of fresh air. But how much better would they sound with a DR10 master? On the back half of “Phantom Fathomer,” a melodic ascension takes place that reminds me of every Attic song ever written. The nine-minute “Ashen” takes these elements and bumps them up a notch. After opening with a very Andy LaRocque-like acoustic intro, the band combines King Diamond and Iced Earth with a satisfying result. Though the song is far too long, it does navigate through some interesting territories. Specifically, the short black metal bridge of blistering fast, sinister picking.As a whole, the album is a somber journey. Every song but “A Murder of Crows” opens with a drawn-out build and keeps the melody going, especially on the front half of the record. But, before you know what’s coming next, the final three tracks throw you for a loop. Closer “The Gallow’s Crossing” opens like King Diamond‘s untouchable “Black Horsemen”—acoustic guitars and low vocals included. Then, it moves into Blind Guardian territory before settling into the sweeping guitar work Iron Maiden. I can say the same thing about its predecessor “Shadowless.” This song is nothing short of an old-school heavy metal track—fitting guitar leads, classic guitar dueling, and all.In the end, the production has disappointed me a bit. Yet, I can’t stop listening to this album. I enjoyed Burn the World, but I haven’t returned to it as often as with this new album. Part of it is the mix on At One with None. Compression is one thing but I do like that they brought the vocals farther to the front. It’s a modernization that removes At One with None from sounding like their previous albums—which sound like ’80s Abigail reverb. Instead of being mysterious whisps in the background, the vocals are now a stronger instrument. If the production was better, I’m not sure what I would have scored this thing. Regardless, this is a truly pleasing slab of ’80s/’90s heavy metal.
Line Up:
Per Lengstedt - Vocals (Overdrive, ex-Unchained) Christian Lindell - Guitars (ex-Helvetets Port, ex-Cross Bow) Fredrik Petersson - Bass (Nidhöggr, ex-Oppression, ex-The Goddamned, ex-The Ancients Rebirth, ex-Autopsy Torment (live), ex-Perish) Robin Holmberg - Guitars (Vampire, ex-Inverted Cross, ex-Mister Green, ex-The Shattering, ex-Dissectum, ex-Leprosy, ex-Schizophrenia, ex-New Keepers of the Water Towers) Anders Persson - Drums
Tracklist:
01. At One with None 02. Curtains (The Dumb Supper) 03. Phantom Fathomer 04. He Who Stands 05. Ashen 06. A Murder of Crows 07. Shadowless 08. The Gallow's Crossing 09. The Blood Is the Life (Bonus Track) 10. Farewell to the Flesh (Bonus Track)
