Portrait: At One With None-2021.

Portrait is a Swedish heavy metal band from Kristianstad, Skåne County. The band was founded in 2006 and has released five studio albums.

The beginnings of the band go back to 2004, but the band was officially founded in 2006. [1] After a demo tape the band signed with the German underground label Iron Kodex Records. The self-titled debut album was later released as a vinyl edition by High Roller Records . Two years later, 5,000 copies had been sold and the band received positive reviews for the album. [1] However, the band switched to Singer, Per Lengstedt joined the group. After major tour activities, including at the Sweden Rock Festival and Headbangers Open Air, signed Portrait 2010 with Metal Blade Records. In November of that year, the band went into the studio to record Crimen Laesae Majestatis Divinae , which was released in May 2011. The band played again at well-known festivals, including the Bang Your Head Festival , the Rock Hard Festival and again the HOA. After further line-up changes in 2012 (including guitarist Richard Lagergren no longer there), the album Crossroads was released in 2014 , which, like its predecessor, took it to second place on the monthly rock-hard “Richter scale”. Burn the World followed in 2017 and was ranked third in the magazine. At One With None is the 2021album.


Welcome to My FuneralDemo2006 
Into the NothingnessSingle2007 
New Age of Iron Vol. 1 – Teutonic-Swedish AllianceSplit2007 
The Murder of All Things RighteousSingle2010 
Crimen Laesae Majestatis DivinaeFull-length2011
New Wave of Swedish Heavy MetalSplit2012 
We Were Not AloneEP2014 
Under CommandSplit2014
Burn the WorldFull-length2017
At One with NoneFull-length2021
Anders Persson
Drums (2005-present)
Christian Lindell
Guitars (2005-present)
See also: ex-Helvetets Port, ex-X-Bow
Per Lengstedt
Vocals (2008-present)
See also: Overdrive, ex-Unchained
Fredrik Petersson
Bass (2017-present)
See also: Nidhöggr, ex-Oppression, ex-The Goddamned, ex-The Ancients Rebirth, ex-Autopsy Torment (live), ex-Perish

Past Members:

Richard LagergrenBass (2005-2008), Guitars (2008-2012)
See also: Source, ex-Eidomantum, Phantom, ex-Lukemborg
David StranderudGuitars (2006-2007), Bass (2008-2009)
See also: Assassin’s BladeInstigator, ex-Disaffection, ex-Trap, ex-Devil Lee Rot, ex-Autopsy Torment, ex-X-Bow
Philip SvennefeltVocals (2006-2008)
See also: ex-Trap, ex-Helvetets Port
Erik JanssonBass (2009-2010)
Joel PälvärinneBass (2010-2011)
See also: Vampire, ex-Lukemborg, ex-Eidomantum
David OlofssonBass (2011-2012), Guitars (2012-2017)
See also: Helvetets PortMidnight Stranger, ex-Decapitation, ex-Morier, ex-Ulvnatt, ex-Oak, ex-Hands of Orlac
Cab CastervallBass (2012-2016)
See also: Dreadful Fate, ex-Funeral, ex-Hypnosia, ex-Birdflesh (live), ex-Incinerator
Robin HolmbergGuitars (2017-2019)
See also: Vampire, ex-Inverted Cross, ex-Mister Green, ex-The Shattering, ex-Dissectum, ex-Leprosy, ex-Schizophrenia, ex-New Keepers of the Water Towers
1.At One with None07:51 
2.Curtains (The Dumb Supper)05:05  Show lyrics
3.Phantom Fathomer06:20  Show lyrics
4.He Who Stands06:39 
6.A Murder of Crows04:43 
8.The Gallow’s Crossing06:57 
9.The Blood Is the Life 04:43 
10.Farewell to the Flesh 06:38 

One thought on “Portrait: At One With None-2021.

  1. Felix 1666, September 4th, 2021
    Written based on this version: 2021, CD, Metal Blade Records

    It was September 3, 2021, when an institution of metal pushed back into the spotlight with force thanks to the release of a new album. A band that embodies pure metal like no other and that has been releasing exclusively good to very good albums for a long time. A band that thinks about the totality of an album, which is expressed not least in fantastic artwork. A band that is known for its galloping rhythms, but also for its variability. We are talking about Portrait, of course. Or did some iron maiden think I was speaking about someone else?

    The fifth full-length of the Swedes is as challenging as its predecessors, but it is also as rewarding as the four previously released monuments. The compositions still reveal a profound depth. Indeed, traditional metal does not have to be flat. This is especially true when a good dynamic is achieved through clever tempo changes, when a certain mysticism finds its expression not only in the artwork but also in atmospheric choruses (“He Who Stands”) and when a strong singer, who masters even the highest notes with ease, duels powerfully and charismatically with the excellently produced instrumental fraction. Moreover, it is noteworthy that the Swedish shock troop follows its very own tactics. Of course, there are echoes of the early Mercyful Fate. But neither musically nor regarding the vocals it is a copy, nowhere near! And Portrait is also separated from In Solitude by more than just their clearly better pronounced stamina. Rather, it seems to me that Portrait, with their mixture of natural toughness and their weakness for the occult, could increasingly become trendsetters themselves. The main thing is that they don’t give in to gothic sounds – but at least “At One with None” doesn’t show any sign of that. That’s one of the best features of the album: although soulful sections do appear, it never becomes cheesy or superficial. Portrait manages, and this is what makes them stand out from the mass of bands, to reconcile seemingly incompatible things. Their lamenting moments still sound powerful, their despair is never delivered without pride and self-awareness. On the other hand, even in the hardest track (the outstanding “A Murder of Crows”) they don’t wallow in mere bludgeoning. The melodic note sometimes takes a back seat, but it never disappears into thin air.

    My favorite song from Portrait is “Burn the World”, the actual opener from the 2017 album of the same name. It was (and still is) a larger-than-life introduction to that work. The wonderful parallel to “At One with None” is that this time, too, there’s an almost overpowering title track at the top of the list. The opener thrills after a quiet intro with birdsong and acoustic guitar with an all flat rolling mid-tempo part where the guitars roll out a steely carpet. The first shiver already runs down my spine, but Portrait increase the intensity once again when a melodic, melancholy guitar joins in, which gives the piece breadth and depth at the same time. Finally, the voice of Per Lengstedt – a gift from the Metal God. Clear, natural, accurate, charismatic, seemingly spanning all octaves, always serving the song and never strutting around as an end in itself. I can’t praise the perfect verses of this track enough, so I’m almost glad that there are marginally less strong parts in this track as well. But to be clear, this is an absolutely brilliant introduction to the record, with melodic soloing, outstanding structure and tension from the first second to the last.

    After the almost eight minutes of the first track have pushed the gate to the sound dimension of Portrait wide open, the other tracks follow almost on the same level. They, too, combine rebellious harshness with dignified grandeur. These contradictory components shake hands as if it were the most normal thing in the world. Portrait should patent their melodies – they are all so metal-compatible that there seems to be an extraordinary creative force behind them. Admittedly, the one or other almost ordinary harmony creeps in from time to time and not every single part of the carefully designed pieces reaches the highest consecrations. Nevertheless, the overall work is more than impressive. Even the above-mentioned iron maiden may rejoice, as she has left more traces in the sound of the Scandinavians than, for example, the Judas Priest, who never knew whether he wanted to break the law or fire up the turbo. But let’s not worry about this fickle idiot, Portrait provide better topics.

    Looking at the closer “The Gallow’s Crossing,” for example, two things stand out positively. On the one hand – it is a typical last piece. It bundles the strengths of the well-oiled unit for the last time, treats itself to a quiet intro and prepares for the calm after (!) the storm, which is much more pleasant to me than the calm before (!) the storm since Venom’s filth from 1987. Great vocal lines, driving rhythms and metallic, classic solos give the listener provisions for the coming dry spell until the next album (in 2025? The earlier the better!). On the other hand and almost better – the closer is not the closer at all, haha! Okay, the bonus tracks can not keep the dizzying level of the main course, but a nice dessert it is in any case. Thereby “Farewell to the Flesh” is the stronger of the two outsiders. The track sounds punchy, while “The Blood Is the Life” exceptionally suffers from relatively stereotypical parts – but these appear even here only in small numbers. Thus, it is certain for me that September 3, 2021, will become a memorable day for the global metal community and especially its tradition-loving members. And it will not hurt the memory that some prosperous old gentlemen from Britain also released their new work exactly that day.


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