Portugal. The Man return this Friday with SHISH, their latest album under Thirty Tigers, following their departure from Atlantic Records. The Grammy-winning band, led by husband-and-wife duo John Gourley and Zoe Manville, has reached album number ten with this new offering, which reflects their independent spirit and artistic evolution.
For many, Portugal. The Man’s global breakthrough came in 2017 with the infectious hit Feel It Still, a track that dominated airwaves, including New Zealand’s major radio stations. The song was a natural fit for sports game soundtracks and high-energy playlists. But for those who dig deeper into the band’s catalogue, it’s clear they’ve always been much more than one catchy tune.
On SHISH, Gourley and Manville continue their evolution, offering a dynamic mix of sounds across the album’s 10 tracks. The album is a statement of resilience, connection, and ambition, bouncing between genres with ease. It’s a thrilling rollercoaster that may surprise even the most dedicated fans of their previous work.
The opening track, Denali, may alienate casual listeners with its heavy, distorted metal guitars and genre-bending chaos. It begins with an aggressive wall of sound, which at first feels overwhelming. But just as you start to lose hope, a catchy, synth-driven chorus emerges, only to be replaced by the same abrasive guitars. As the song fades, a whimsical outro reminiscent of The Flaming Lips provides some relief. However, the onslaught doesn’t stop, as the next track, Pittman Railliers, delivers a jarring dose of crust-punk energy.
Despite the hectic nature of the album’s first few songs, there are clear moments of brilliance. One standout is Knik, a track that showcases the band’s ability to craft a compelling, modern indie-rock song. Its infectious melody and fuzzy guitars would make even The Black Keys take notice. And for fans of radio-friendly tunes, Tanana serves as a more accessible offering towards the album’s conclusion, though it’s followed by a curveball in the form of an experimental intro to the final track.
Gourley has promised his most candid lyrical work to date, and SHISH delivers on that front. The album is raw in parts but polished where it matters most. Throughout, there are echoes of indie-pop perfection as Gourley demonstrates his knack for writing memorable melodies and blending genres in a way that feels fresh. That said, some moments, particularly the chorus of Angoon, seem to borrow heavily from Nirvana, with the tone of the guitar solo not fooling anyone.
It took me a few listens to fully understand what Portugal. The Man were trying to achieve with SHISH. Many of the songs feel like several smaller compositions pieced together. There are random bursts of distorted guitars layered over softer, more introspective moments, creating a sense of organised chaos. While it’s not always easy to follow, the album offers enough moments of melody and intrigue to warrant repeated listens.
In the end, SHISH may not be for everyone, but it’s an album that has a lot to offer for those willing to embrace its experimental and eclectic nature. If you’re prepared for an unpredictable journey, SHISH will reward you with its bold, genre-defying approach to modern indie rock.