Portugal. The Man's New Album: Evil Friends, Track by Track

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Britt Chester, Westword

Put on almost any Rolling Stones record and it is instantly recognizable as the Rolling Stones. There is no mistaking the gritty sound and straight-up rock 'n' roll riffs. Now, put on a Portugal. The Man album. It, too, is instantly recognizable by the complex layers and textures in each song, the monumental send-ups and whispered hushes surrounding John Gourley's falsetto voice and distinctive cadence.

But while one Stones album sounds a lot like any other, no two Portugal. The Man albums sound alike. For example, In the Mountain in the Cloud expanded on The Satanic Satanist with rich orchestration balancing raw, stripped-down moments and a couple of glam-ish power-pop masterpieces. The upcoming Danger Mouse-produced Evil Friends goes even further.

After the jump: A track-by-track teaser of Evil Friends, out June 4. Portugal. The Man plays April 17 at the Marquee Theatre in Tempe.

Evil Friends is bolstered in places by rhythm and blues horn flourishes, lush harmonies, swelling string sections, swirly synths, gospel send-ups, and some new lyrical directions. Unlike earlier albums, references to Alaska, Gourley's and bassist Zach Carothers' former home, if still there, are hard to ascertain.

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Instead, one finds Gourley singing about war, Jesus, suicide, and a couple of negative social interactions -- perhaps the result of the growing fame facing the band after In The Mountain's success, and the constant toil of life as a touring machine. "Creep in a T-Shirt" could just as easily be about the slackers in the crowd as a band's stalker, or the average dude lurking about a frat party. "It's not that I'm evil / But I don't want to pretend / That I could never be your friend," Gourley sings in "Evil Friends," a shot perhaps, at the same stalker, bothersome fans or Facebook friend requests.

Here's a brief track-by-track teaser of Evil Friends:

Plastic Soldiers: Piano-driven low-key opener with strange synth effects, castanets, danceable backbeat, and assorted harmonies popping up in unexpected places.

Creep in a T-Shirt: More synths parlayed into a driving beat, gritty guitar lines, fleeting acoustic moments, and monster horns that lift the song above its dark undercurrent.

Evil Friends: Gentle acoustic guitars lure the listener in before a synth distorts the rhythm into a driving near-punk pulse of heavy fuzz bass and minor key guitars. "You'll never find a friend like me . . ."

Modern Jesus: "You don't need sympathy / They got a pill for everything . . . Don't pray for us / We don't need no modern Jesus," Gourley sweetly sings over an almost playful beat that swells and plunges, yet remains intimately danceable.

Hip-Hop Kids: As straight-ahead rock 'n' roll as P.TM gets, with determined drumming, thunderous bass, and staccato guitar mixed with some quiet breaks. It's coming out the breaks where the song almost explodes in angst.

Atomic Man: Acoustic undertone, dark-edged electrics and affected vocals lead to the great line: "After you, hell should be easy." Someone's not happy, but you can dance to it.

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Great article, man! How long is the album?? Also, I heard it has influences from Dark Side of the Moon. So, do the songs flow into one another? Like in DSOTM or even Abbey Road!

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