Review by Maciek on February 21, 2018.

It is very hard to write about an artist like this one. This is the same band that recorded Testimony of the Ancients and Spheres, albums that basically defined the Benelux death metal scene for years. 

And it is difficult to not have bigger appetite than this album can satisfy. I was very happy for them to return after 16 years of hiatus (time between Spheres and Resurrection Macabre albums) and initially thought that they are just starting off from a safe ground, a style that was their trademark. But listening to another album that sounds almost the same you start thinking if this band was going somewhere or just keeping that same ground for the next 9 years. 

Unfortunately this album also is the safe option, almost as if it could be called "Tracks that were too 'Spheres' to make it to the 'Testimony' album, but then too 'Testimony' to make it to 'Spheres'". Don't get me wrong, there's still no other band like Pestilence, but I think somehow I expect some more development in this style. Or at least another "Stigmatized" or "Land of Tears". Or maybe another "Mind Reflections" or "Spheres" (title track from the album) or "Changing Perspectives". But the most we get is another "The Secrecies of Horror" with a "Spheres" vibe. It definitely fills that space in Benelux death metal scene for bands that input some, I don't know, progressive or even jazz elements? Disharmonies that can be recognized from the very beginning with some phrases resonating disbanded (and missed) Comecon. And this is really solid album, even if it's not surprising at all.

Brilliant solos with chaotic riffs in the background ("Oversoul" for example) with some tiny experiments, but generally almost everything is being played at the same pace. Good point is that Patrick Mameli likes to experiment with his growling sometimes, with some his growls going really, really deep. Makes some elements of the album sound very heavy. Technically also it's impossible to find any fault here, guys know how to use their instruments, I can almost imagine myself trying to learn all of these riffs, because some of them are really sounding cool. It's just putting them together somehow didn't make it an exceptional album.

If you're looking for some strange experiment, listen to "Astral Projection". I don't know what to make of this track and its unusual "addition". Check it for yourself and decide if that's the kind of experimenting you are looking for in death metal.

One thing I am sure of - I am glad that they are still searching for some new content, so there is hope one of their future albums will grab my heart. But this album is not it, yet. It's probably going somewhere, but it hasn't reached that point yet. But after that track there's also "Discarnate Entity", which is getting close to being "something", maybe this could be the promoting track, maybe could have some cool video. "Subvisions" shows that Tilen Hudrap also can play bass like probably Tony Choy would if he was still playing with them. That's another good side of this album - the bass can be heard pretty clearly and it's definitely a valuable addition to the whole sound and I guess he's the member that's worth keeping. And maybe hopefully come up with his own ideas how to make rhythm section more interesting in future. Although you have to admit, that Patrick Uterwijk leaving only Patrick Mameli as the last of founding members. Tracks definitely worth listening to are "Non Physical Existent", "Oversoul", "Discarnate Entity" and "Ultra Demons" if you want to have the taste of the album. "Layers of Reality" have a very interesting set of solos that could be something enhancing their musical palette. But the track "Electro Magnetic", closing the album makes a kind of full circle to go back nearly to the same composing pattern as "Non Physical Existent". So, to sum up, this album is definitely easy to recognize as another position in Pestilence's library, it maintains the high technical quality, the riffs are complex and precisely executed, solos are interesting and it seems Santiago Dobles can be another good guitarist to play for this band. Mastering has been done by Dan Swanö, so there is nothing to complain about - vocals are very good, both guitars can be heard very well, solos are always in the front, not hidden behind a wall of rhythm guitar riffs, drums also are in the perfect balance with all of the other instruments. The workshop works perfectly. Now we need to wait for some invention, that spark that will make the details shine.

Generally strong position, but maybe because of my high expectations it left an unfulfilled hunger for at least one more "Stigmatized". When I get that, the album will get 10/10. Hadeon unfortunately can get only 7/10, which still proves they maintain high quality of their material.

Rating: 7 out of 10

Review by Maciek on February 21, 2018.

It is very hard to write about an artist like this one. This is the same band that recorded Testimony of the Ancients and Spheres, albums that basically defined the Benelux death metal scene for years. 

And it is difficult to not have bigger appetite than this album can satisfy. I was very happy for them to return after 16 years of hiatus (time between Spheres and Resurrection Macabre albums) and initially thought that they are just starting off from a safe ground, a style that was their trademark. But listening to another album that sounds almost the same you start thinking if this band was going somewhere or just keeping that same ground for the next 9 years. 

Unfortunately this album also is the safe option, almost as if it could be called "Tracks that were too 'Spheres' to make it to the 'Testimony' album, but then too 'Testimony' to make it to 'Spheres'". Don't get me wrong, there's still no other band like Pestilence, but I think somehow I expect some more development in this style. Or at least another "Stigmatized" or "Land of Tears". Or maybe another "Mind Reflections" or "Spheres" (title track from the album) or "Changing Perspectives". But the most we get is another "The Secrecies of Horror" with a "Spheres" vibe. It definitely fills that space in Benelux death metal scene for bands that input some, I don't know, progressive or even jazz elements? Disharmonies that can be recognized from the very beginning with some phrases resonating disbanded (and missed) Comecon. And this is really solid album, even if it's not surprising at all.

Brilliant solos with chaotic riffs in the background ("Oversoul" for example) with some tiny experiments, but generally almost everything is being played at the same pace. Good point is that Patrick Mameli likes to experiment with his growling sometimes, with some his growls going really, really deep. Makes some elements of the album sound very heavy. Technically also it's impossible to find any fault here, guys know how to use their instruments, I can almost imagine myself trying to learn all of these riffs, because some of them are really sounding cool. It's just putting them together somehow didn't make it an exceptional album.

If you're looking for some strange experiment, listen to "Astral Projection". I don't know what to make of this track and its unusual "addition". Check it for yourself and decide if that's the kind of experimenting you are looking for in death metal.

One thing I am sure of - I am glad that they are still searching for some new content, so there is hope one of their future albums will grab my heart. But this album is not it, yet. It's probably going somewhere, but it hasn't reached that point yet. But after that track there's also "Discarnate Entity", which is getting close to being "something", maybe this could be the promoting track, maybe could have some cool video. "Subvisions" shows that Tilen Hudrap also can play bass like probably Tony Choy would if he was still playing with them. That's another good side of this album - the bass can be heard pretty clearly and it's definitely a valuable addition to the whole sound and I guess he's the member that's worth keeping. And maybe hopefully come up with his own ideas how to make rhythm section more interesting in future. Although you have to admit, that Patrick Uterwijk leaving only Patrick Mameli as the last of founding members. Tracks definitely worth listening to are "Non Physical Existent", "Oversoul", "Discarnate Entity" and "Ultra Demons" if you want to have the taste of the album. "Layers of Reality" have a very interesting set of solos that could be something enhancing their musical palette. But the track "Electro Magnetic", closing the album makes a kind of full circle to go back nearly to the same composing pattern as "Non Physical Existent". So, to sum up, this album is definitely easy to recognize as another position in Pestilence's library, it maintains the high technical quality, the riffs are complex and precisely executed, solos are interesting and it seems Santiago Dobles can be another good guitarist to play for this band. Mastering has been done by Dan Swanö, so there is nothing to complain about - vocals are very good, both guitars can be heard very well, solos are always in the front, not hidden behind a wall of rhythm guitar riffs, drums also are in the perfect balance with all of the other instruments. The workshop works perfectly. Now we need to wait for some invention, that spark that will make the details shine.

Generally strong position, but maybe because of my high expectations it left an unfulfilled hunger for at least one more "Stigmatized". When I get that, the album will get 10/10. Hadeon unfortunately can get only 7/10, which still proves they maintain high quality of their material.

Rating: 7 out of 10

Review by Felix on January 1, 2022.

From today’s point of view, the debut of Portrait sounds a bit strange to me, because Per Lengstedt was not yet a member of the group. Instead, Phillip Svennefelt lent the dudes his voice and he is mainly responsible for the obvious Mercyful Fate influence that characterizes the self-titled effort. But Portrait is not the result of copycats at work, and, just to avoid misunderstanding, Svennefelt does not sound like the reincarnation of King Diamond. He just adapts his style to a certain degree without creating a slavish imitation. The bottom line is that his adventurous singing fits the music and its aura very well. Vocals and instruments create the occult touch right from the beginning and it is evident that Portrait knew the direction of their musical mission from the outset.

This mission contains a tendency to pretty complex tracks. The technical dates (eight songs, 46 minutes) indicate the quite excessive structures. Sometimes newcomers choke on their own ambitions, but here the songwriting guitarists Lindell and Lagergren have penned pieces that find a good balance between a smooth flow and the right number of twists and turns. The songs are neither repetitive nor over-complicated. Their best feature is their freshness. Portrait does not sound tired at any second. The often fast compositions, headed by the ruthless 'A Thousand Nightmares' with its glorious solo and instrumental part, spread timeless vibes. Of course, the Swedes can be seen as representatives of traditional metal, but already on their debut, they were much more than this. They offered more than typical traditionalists in terms of energy, speed, courage and song patterns. Portrait is light years away from the “riff-screams-chorus” scenario that has its right of existence without being the last word on the subject. Nevertheless, one can identify a few Maiden-like guitar lines, inter alia in 'Bow Unto The Devil', where they lead into a short drum solo (or excessive drum break, however you want to name it).

Many details want to be discovered, for example the tiny “Killers” similarity after the first riff of 'Beware The Demons' many various parts want to be fully consumed. Especially the fast-paced opener and the rather epic closer hold a lot different sound colours. But even while listening to the longest songs, you will not stumble over half-baked parts. Everything is meticulously constructed and even though I am not in a state of euphoria during the entire 46 minutes, I enjoy the album in its entity. All songs reach a good level, a few of them are still candidates for best of compilation. This is a merit of the production, too. Maybe it lacks five or ten percent power, but the album sounds clear and professional. In view of this situation, there are not many reasons to ignore Portrait. It’s simply a debut which already showed the greatness of its spiritual fathers. And despite many line-up changes, this greatness is still alive. Everybody who knows the title track of At One With None will agree.

Rating: 7.7 out of 10