Clearly not one to rest on their laurels, the three-piece Portrayal Of Guilt from Austin, Texas have dropped their second album of 2021 in Christfucker. This time, they’ve signed with Run For Cover and are moving into bigger, bolder and darker territories than ever. This record steps away from hardcore and screamo, and more into the blackened metal arena. The amount of different genres and styles this band has tinkered with since their formation in 2017 showcases not only their wide field of influences but also their skill and craftmanship. To tackle an album such as this is no easy feat.
Not the type of record to whack on if you need cheering up, Christfucker is about as brutal as its title might indicate, both musically and thematically. Of course, there’s some religious imagery too. Explorations of hell, demons and slaughtered angels, are set to a soundtrack of extreme heaviness. Lyrically sparse, the album leaves most of the space for the music. What little lyrics the band do offer are dark, miserable and lacking in hope. Detailing pain, suffering, murder, torture in both life and whatever comes after it, Portrayal Of Guilt are painting their most dreary and inhospitable tapestry to date; an achievement given their callous repertoire.
Guitarist and vocalist Matt King described the album like “scoring a horror movie” and that they wanted to create “an atmosphere of anxiety and fear.” Exploring different dynamics throughout, the band drop out then come crashing back in again, almost recreating the jump scare impact of a horror movie. That atmosphere shines through too in the eerie soundscapes and haunting guitar patterns. It’s music that makes you feel naturally on edge. The intro is almost entirely noise and screaming, while main opening track ‘The Sixth Circle’ has an industrial post-punk repeated guitar lick which provides the backdrop to some threatening black metal vocals.
The blending of styles on the album certainly feels unique in places. ‘Sadist’ has the hardcore breaks and driving basslines, but it also has King’s screeching demonic vocal delivery drenched in an eerie echo. Sound effects and samples litter the various pieces and add extra atmosphere to the listening experience. ‘Bed Of Ash’ is experimental and noise driven, while the guitar work on ‘Dirge’ is both beautiful and terrifying.
Things really kick in on ‘Fall From Grace’, a song which travels in many different directions. ‘The Crucifixion’ sounds more traditional screamo/metalcore in places but still has that much darker edge underpinning it.
Some might say the album feels disjointed but somehow it is held together by the strand of collective madness that created it. Cohesive in craziness and united in unpredictability, Christfucker relentlessly romps along and drags the listener with it. Ending with impressive main single ‘Possession’, this exploration of darkness set to an intimidating soundtrack is not for the faint-hearted. Portrayal Of Guilt are a band who keep surprising and growing and still have more to give.