Full of power and technicality, “The Host” from Swedish metal outfit PORTRAIT does not disappoint and is exactly what you expect from these monstruous musicians. Fans of guitar mastery will absolutely love this album (and much of everything else from this band). Very classic in its approach to melodic power metal, the songs on this record do not mess around. The Vocals are impeccable and have a huge range, diversity and such power that even the great Bruce Dickinson would be proud of them. However, the listener will hear great examples of musicianship from the whole band throughout the whole album. A perfect example of this is the explosion of the first full track (after the intro of “Hoc Est Corpus Meum”) titled “The Blood Covenant”. Straight away you are greeted with a blasting drum fill and a ripping guitar sequence. The chorus here is something to be envied by anyone who did not put it together themselves. This song is a masterclass in how to open an album.

Flowing through, the listener gets what the first track sets them up for which is musical prowess and fast paced tracks with what can only be described as musical virtuosity. That is until they reach “One Last Kiss”. Keeping up with the virtuous musicianship, this track gives off vibes of PANTERA’S “Cemetery Gates”. The first use of acoustic guitar on the album and it is an angelic piece of writing. Coupled again with beautiful vocals, this track really raises the bar and shows that the album could go in any direction. Enter stage right, “Treachery”, the song that destroys all the hope that was created by the previous track with the booming double bass drumming and heavy riffing from the offset. The song here also has a hint of technical death metal in there with some very fast guitar picking techniques. The pace is kept up from here and when the listener reaches “Dweller of the Threshold” they are given a lesson in vocal harmonies and projection. This track is short and to the point, but that burst of energy from an already restless album is exactly what is needed at this point in the listening process.

“From the Urn” suggests a fantasy theme, a slight change from the rest of the album, but no less amazing. This song takes the listener on a journey akin to that of a pantomime. This is much unlike “Sword of Reason (The Steel of Revenge)”, introduced by such a heavy riff which is followed by something borne of a thrash volcano shattering the bones of anyone that will dare listen to it. Ending the album is “The Passions of Sophia”, a masterful behemoth that is the most unique and by far the longest track on the whole album. The word “passion” is the main theme of the lyrics of this track as well as the main emotion put into it by the band. Interestingly, you can hear the attack of the bass guitar cutting right through in the mix. It is not unwelcome and gives this track some extra power.