Portugal. The Man have lived many lives over the course of 10 albums. Their first decade of output alone wove through post-hardcore, math rock, and psychedelic blues, all before reaching mainstream ears with 2017’s inescapable smash-hit “Feel It Still,” which incidentally landed on a track list alongside guest features from The Pharcyde’s Fat Lip, Woodstock-era folk icon Richie Havens, and Final Destination 3 star Mary Elizabeth Winstead, not to mention production credit from Danger Mouse and backing vocals on one track from A$AP Rocky.
The band’s second album since Woodstock—as well as their most stripped-back in terms of personnel to date—isn’t much more easily classifiable, and to hear band leader John Gourley tell it, that may be because he’s leaning back into the prog influence that’s always undergirded his work to some extent, while (less transparently) also letting his love of heavy music be known. It may never quite reach the intensity of the band’s 2023 collaboration with black-metal one-man-band Mizmor (whose brother evidently used to play in PTM), but Shish’s early singles hint at a certain propulsiveness to the structures of these songs, even if Gurley’s falsetto, surfy guitars, and bubblegum psych-pop aesthetic tend to bring MGMT’s Congratulations to mind.
Ahead of the album’s release tomorrow, Gourley gave us a crash course in some of these influences, which range from heavy metal and prog royalty (shout out Mandy (2018)) to smooth soul and percussion-heavy Brazilian music. Check out his picks below, and pre-order Shish here.
Yes, “Heart of the Sunrise”
I think we’ve been known as a “commercial band” for a while, but I’ve always thought of us as a prog-band. This song has been a huge influence on me, and I think you can hear that on this record.
King Crimson, “Starless”
Similar era to Yes. King Crimson’s lyrics really build a world, and the twists at time are surprising.
Black Death, “The Hunger”
I love heavy music—I was a hardcore kid in Alaska, so heavy guitars always always grab me.
TNS, “Time’s Up”
This is from a comp via Numero Group, and I always buy their comps. They unearth rarities, and I love this pre-stoner-rock sludge.
Tim Maia, "Que Beleza”
I don’t listen to much Brazilian music, but love the simple-yet-complex drums and accents. It’s definitely on our record, though not obvious.
The Lively Ones, “Surf Rider”
From a guitar perspective, I love some dusty surf music. I’m always trying to include that reverb-drenched sound with tape feel.
Jimmy Ruffin, "What’s Become of the Brokenhearted”
I love soul music and this era of music. It sounds like a love song, but it might be a statement on politics. I enjoy that duality.
Bo Hansson, “The Black Riders & Flight to the Ford”
I admire fantasy, though I’m not deep into it—I like the idea of escapism. The organ on this is great.
Curtis Mayfield, “Little Child Runnin’ Wild”
The fuzz guitar on here is something I’ve been chasing for years—like ’60s and ’70s stuff. It’s simple, but elusive. The strings are arranged really well, which I love.
Billy Paul, “War of the Gods”
I love the synths here, of that vintage. I grabbed a CS-60 synth, which you can hear on “Father Gun”—you can’t fake that sound from a modern synth.
The Blues Magoos, “There She Goes”
I think these drums are recorded so well—nice tape distortion, which we used the idea of all over the record.
