Thursday 31 Jul

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday


113 N. Crawford Ave., Norman



07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.



07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Downtown Tulsa 

07/22/2014 | Comments 0
Home · Articles · Reviews · Indie · Portugal. The Man — In the...

Portugal. The Man — In the Mountain in the Cloud

Belongs ‘in the’ trash.

Matt Carney October 5th, 2011

Billed as a psychedelic indie-rock band, I think Portugal. The Man is kind of neither.


In The Mountain In The Cloud” doesn’t sound much like a band treading new sonic ground, or even experimenting with the recontextualizing of others before them, but more on that later. Also, they ditched the small label, Equal Vision Records, for Atlantic Records in April of last year. I wonder if producer John Hill’s (who has a handful of Shakira, Theophilus London and Christina Aguilera tracks to his credit) assistance with the record was the band’s choice or Warner Bros’.

Neither is the band particularly psychedelic. There isn’t anything especially alluring or freaky about this, their sixth studio album, which is aggravatingly simple and watered-down for an act that’s previously aimed at lofty conceptual goals in its style. It’s the opposite of damaged psych (Ariel Pink, for instance), but also fails in the way of more lyrically challenging sub-genres, like psych-folk (Jackie O Motherfucker) and the orchestral rich pastoral (Fleet Foxes). Heck, they don’t even really jam on this record, which, as I discovered back in the spring, is something they’re pretty good at.    

Such incongruence with established sounds, concepts and styles is only rarely an indicator of originality, and “In the Mountain in the Cloud” just isn’t one of those albums. My largest complaint about the record is that the band too often sounds like imitators, not innovators, and of My Morning Jacket at that (see the chorus of “Wordless Chorus” if you’re not in on this little joke). Where MMJ are burlier, more straightforward-rocking and write compelling lyrics, P.TM plays about too much with poorly recorded orchestral stuff. Traditional string arrangements are scattered about this record like dead flowers. I should also add that Jim James’ falsetto, while certainly not authoritative, kicks P.TM singer John Gourley’s in the balls, and not in a way that’s helpful.

Opener “So American” is the sonic equivalent of a David Bowie-themed, color-by-numbers drawing book, right down to the handclaps, tempo and charming, English-styled vocals. “You Carried Us (Share with Me the Sun)” progresses like an MGMT track, one with stale synths and boring lyrics. And “Everything You See (Kids Count Hallelujahs)” actually contains the phrase “the kids are just fine.” Snooze.

For a brief moment midway through its six minutes and 21 seconds, I thought (OK, hoped) closer “Sleep Forever” steadily morphed into Macy Gray’s iconic single “I Try,” from which P.TM’s almost completely rips a violin melody, and for which I have no qualms admitting my faithful love.

I feel like I’ve complained enough, so at this point I think I’m going to finish this review by listening to “I Try” a few times.

  • Currently 3.5/5 Stars.
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10.05.2011 at 04:41 Reply

I get that you didn't like the album, but that doesn't automatically make it terrible. I don't know if you're familiar with PTM's sound, but based on the quality of the article, I imagine you probably spent 5 minutes in wikipedia reading about the band's history. Saying "this doesn't even sound psychedelic" is just plain lazy; maybe instead have some imagination try to actually get the music instead of hating on it. PTM is a pretty socially minded band, and you completely missed the significance of the music because you were too focused on insulting it just because it's not your style. You also clearly have little-to-no understanding of their larger body of work. If you did, you wouldn't have wasted our time rambling on about how it didn't fit your notions of psychedelic/indie sounds and instead could have talked about how the album made sense in perspective. I'm not even a huge fan of PTM, but I can at least make an effort to appreciate/enjoy the music and try to understand it.