Review by Felix on January 1, 2022.

Hi dudes, do you want to know how the perfect heavy metal production sounds? Burn The World, Portrait's fourth full-length, gives the answer. It combines a powerful depth with metallic transparency. Clear structures set the frame for organic drums (enjoy the fantastic intros of the fourth and the eighth piece, the CD bonus track), a well audible bass, natural guitars and clean vocals that cover a wide spectrum. In total, the album sounds robust, strict and airy at the same time. Do you also want to know how perfect heavy metal songs sound? Once again, 'Burn The World' gives the answer. Unfortunately, now I am speaking about the eponymous song, not the entire album.

Anyway, let's start with the ingenious opener. Speedy rhythms and an intelligently used double bass form a dynamic song that has a lot of twists and turns. The mostly high-pitched vocals increase the melodic elements without hurting the fundamental heaviness and aggression of the song. And despite its pretty complex pattern, the song also develops earworm qualities. Of course, this beginning is too good to be true and it is more or less a matter of course that the Swedish three-piece cannot keep this level. Yet this does not mean that the further material suffers from serious defects. Quite the opposite, here we have the best ouput of the group so far.

Generally speaking, the band still presents an exciting cocktail of speed and power metal which also features a few occult or rather unusual elements. The keyboard solo of 'Likfassna', for example, adds a surprising sequence to the punchy and intense number. Furthermore, it goes without saying that Per Lengstedt's vocals are evocative of King Diamond's performances and this alone guarantees somewhat esoteric and supernatural vibrations. The background vocals, for example that of 'Flaming Blood', point in the same direction. All these contributions complement the surprisingly fast rhythmic foundation. A rather relaxed tune like 'Martyrs' remains exceptional. The permanent pressure of the compositions distinguishes the Swedes from the Danish legend that introduced us to "Melissa". Compared with a band like Attic, Portrait are much less a copy of Mercyful Fate. To write it more precisely, they are no copy at all. Honestly speaking, they are rather unique - and they can rely on their musical instincts. Like many of their compatriots, they have a knack for effective melodies and they do not lack technical skills.

Of course, I am not happy until I have found a reason to lament. I understand that the atmospheric intermezzo 'Further She Rode' is part of the pretty mysterious concept, but I would not have missed these 112 seconds. The regular songs are much better and their brilliantly executed tempo changes keep the listener in suspense. A furious track like 'To Die For' is almost an orgy of speed and the excellent, vibrant drumming leaves its mark anew. No doubt, Portrait manage the epic sections as well as the rapid sequences, but I cannot kill the "Show No Mercy" fanboy in me and therefore I prefer the faster tracks. But each and every number achieves a good level, even the epic and slightly overlong closer. However, this album has the potential to fascinate heavy, speed, thrash and even black metal fans. If you belong to one of these groups, do not hesitate to give it a chance. If you do not like at least one of these styles... well, I have heard that Abba have recorded two new songs. Agnetha or Anni-Frid can provide you with the details.

Rating: 8.4 out of 10

Review by Felix on June 27, 2024.

Ha, it took three days, but now that I have found the “Ú” in my laptop, I can start to write the first review for (yes!) Úlfarr’s first length. At the same time, I beg your pardon that the review is not written in Old English, although the lyrics of “Orlegsceaft” revitalize this form of English. But my modern English is bad enough and you can get a review in Deutsch if you really want, but not in Old English. So it goes without saying that I cannot say something about the lyrics, but there is another language I understand – the language of black metal. Úlfarr celebrate it in its purest form with hardly varying, extremely raw vocals, they reduce the style on its essentials, they perform their songs passionately and the artwork sends greetings to "Blasfemia Eternal", the strong Ancient Rites album from 1996. Is there anything else one can demand? I don’t think so.

Just take the sinister high velocity devastator called “Trollblót“ (needless to say that I needed two further days until I had found the „ó“). Its flow is nearly perfect, because it has such a natural feeling that it has to be exactly the way it is. The smooth yet hellish approach of the song is as irresistible as the best flowing tracks of Darkthrone on „Ravishing Grimness“ (which is a great work from my point of view) and the riffing is also not too far away from this album. The riff after the break at 4:20 is not only absolutely fantastic, it also underlines the affinity for Darkthrone as well. Due to the nearly absurdly throaty vocals, there is also some „Transylvanian Hunger“ represented in the sound of Úlfarr – I can definitely imagine worse references. Or put the focus on “Wælgæst wæfre”. (Hooray, I had used “æ” already before, it was no problem to find it!) Its seven minutes are filled to the brim with aggressive, explosive eruptions. But there are also nearly thoughtful sections and they and some mid-paced parts develop depth and despair. The song shows impressively the talent of the band to give its songs the right quantum of melodies and, even better, the guys are able to write very strong, expressive melody lines.

Admittedly, “Orlegsceaft” does not consist of highlights exclusively. Some tracks are robust and solid without meeting the highest expectations. They do not lack substance and show no signs of obvious weakness, they just have to accept that they cannot fully compete with the best tracks here. So one can sit down with a good drink and press the start button or guide the needle to the record – there is no song that will hurt the comfortable scenario. The production is also nothing one has to fear. I do not know whether there is some national black metal guide line, but the sound of the album is comparable with those of Frosten’s and Hellvelyn’s debuts. Nuances are missing, maybe the guitars could sound a bit sharper, but come on, it is a pretty simple yet adequate and vigorous sound. Unfortunately I cannot hear the bass guitar, but I am not able to say whether this is a weakness of the production or a consequence I have to suffer after more than 40 years of metal consumption. Either way, Úlfarr’s full-length debut continues the sound of their EPs and deserves respect and attention.

Rating: 7.8 out of 10