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In the same way that old science fiction is retro yet futuristic, Portal’s death metal seemingly spans decades. The oddball Aussies have gotten much attention for their recent album Swarth (Profound Lore, 2009). I interviewed guitarist Horror Illogium for the December ‘09 issue of Decibel (#62, Converge cover, order here). Space constraints meant that I used only a few quotes. Here is the interview in full. I conducted it via email, a medium that allows Illogium to remain “in character.” He is known for bombastic interviews by email, but this one was relatively down-to-earth.
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Portal explores extremes. Could such exploration lead beyond metal, as there is much music more “extreme” than metal?
Portal explores depth and atmosphere in the aim of a descriptive soundscape. The term “extreme” would not really apply to us in the context that other bands would use: the fastest blastbeat or the most technical guitar work. That kind of mindframe as though it is a sport is sickening! Extreme for the sake of extreme in any regard has no place in our art. The feeling must flow, exploring different planes of darkness and atmosphere. There is no interest in taking the main core of Portal beyond Metal at all. In fact, we don’t feel as though this form of Death Metal has reached its greatest potential yet.
The fact that Portal organizes sounds into discrete tracks indicates that it still has limits. Why not descend into literal pure insanity like Stalaggh, who release recordings composed of insane asylum inmates screaming and carrying on?
We are indeed making songs, although our structures are unusual. They are constructed with a great deal of artistic, obsessive scrutiny. The songs are incubated, given life, and sent out into the world. Every time we rehearse and play them live, we relive their birth. The only necessity is that we feel the passion for the particular piece. Otherwise, it is cast aside. There simply is no point playing anything unless the feeling is there. An insane asylum is a structure; our songs can be viewed as structures housing insane elements.
Why add more insanity and horror to a world already filled with those things?
It is the same horror and insanity from the beginning. It is just in different forms and exaggeration.
Portal’s music often attacks from the side or from underneath, rather than death metal’s usual full-frontal assault. Is this a conscious decision?
That depends on the perception of the listener. The style we play has warped itself over time. However, personally I believe our direction is very straightforward and direct. It is important that the point of the song is put forth.
This attack favors the guitars and often obscures the drums. Do you mind that this lacks the blunt power of, say, Bolt Thrower or Asphyx?
In this work, frequencies fight each other. We choose to have the guitars more dominant; it’s more important to let the details of the strings reign. No, we do not mind. I think the classic era of Asphyx was excellent, especially the punishing Last One on Earth LP and its heavy, extreme production. We would not be interested in achieving those kinds of productions with our sound at all. We will leave that to bands that feel as though they have to stick within boundaries set in the past.
The tones on Swarth are more cutting and defined than on previous albums. What drove this decision?
The vibe at the time of creation will determine the outcome of the sound. The last few years [we have] spent striving for a sound we enjoy in the rehearsal room, exploring different equipment for guitar tones with enough articulation as well as dirt. Total tube amps are the key for us. Whether it is recording or playing live in a room, there are only so many frequencies that can share a space. There must be a balance to allow the instruments to spill forth and explode when necessary. This will give a more detailed soundscape and accentuate the impact and depth of certain sections of music.
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Is technology crucial to Portal? Could its essence have existed at other times in history, whether past or present? Portal’s costumes, in particular, harken back to another time.
Technology is helpful but not crucial to our recordings. We strive for a more realistic sound. It is balance, using the digital tools appropriately. Vinyl is the ultimate format for the experience, because we prefer a lot of older productions and despise over-use of digital production. Aesthetically speaking, the aura of the early 20th century is ideal. It is an inspiration [that] we siphon into the feeling and atmosphere.
Many of Portal’s song titles feature skewed or augmented words. Are such alterations conscious choices?
These are indeed conscious choices that inspire the music which will eventually envelop it. It goes hand in hand. Word manipulation is something we’ve been doing for years.
Do you listen to Portal recreationally? Is it possible to divorce your listener side from your musician side, and to listen with virgin ears?
It’s impossible to approach one’s own music with virgin ears, having spent months and years creating the songs. However, I do in fact enjoy our own recordings for the atmosphere and feeling. [But] I am more interested in exploring and incubating the new broth.
What does Portal strive to be? How successful has it been at achieving that?
Portal only strives for artistic satisfaction in every facet. We are our own ultimate judge, and for the audience it is just preference and perception. We’re quite satisfied with where we are taking the music.
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Great interview, Cosmo. I'm still attempting to decode Swarth, with little success. Perhaps I'll give it another try.
Great interview. I am still on Outre but will get Swarth soon.
Awesomeness.
They really brought the Lovecraft on this new one…huge riffs/soundscapes…the riff at 0:23 in "Larvae" = crawling chaos.
Tried this album; it did nothing for me.
@ Phil Freeman: if ever there was a metal band that was an acquired taste, it would be Portal
I listened to Outre about 7 times before I finally started hearing what was really going on…
But I still prefer "Seepia."
Good job. Way better than the edited version in Decibel. I like Portal quite a bit, and you're right…it's good to hear a member of the band talk in a less "bombastic" fashion about their work. Even though he claims it is the "ultimate format", I can't actually find a vinyl release of this album. Am I missing something?
Death metal has a malleability I've yet to see in other forms of heavy music. While other, more straightforward genres seem to get more and more technically minded, with the players involved more and more technically proficient, it loses a bit of its soul in the process. It's a difficult tradeoff sometimes, but I have to remind myself that being dragged kicking and screaming from the training of my cumulative listening experience is ultimately a good thing. Portal is one of those bands that rip your umbilical cord out from that comforting musical womb. You are left on their terms. WOLD is another band in this style–harsh tonality, trebly, and discomfiting–its interesting to note that both these bands come from geographically harsh landscapes, Australia, Saskatchewan, Canada. Much like Nuclear Death or other similar bands, they might not be popular, but the people they do influence will start their own bands.
thanks, Portal interviews are always appreciated. it'd be nice to peer into The Curator's headpiece for a few minutes as well but i'd be afraid of exploding into rats, or something.
BTW Portal's from like the Miami of Australia, which may explain the throbbing low end. but given it's Australia still probably only 5 minute drive to bleak wastes
I want to like Portal. I really do. But I can't give them my attention because in interviews like these the artist(s)come across so pretentious and douchey. Now, I went to music school, so believe me when I say that I know from pretentious and douchey, particularly when talking about music. I did it for four years. But by the end, it was a turnoff, just a way for me to decide what was probably artsy (read: crappy), and what was worth listening to. I like the interview; this is not an anti-Cosmo diatribe in any way. I just see these kinds of lame, high-minded responses and I feel gay.
beautiful, painful music to listen too. Swarth is even harsher than Outre, and the aggression on the album is fantastic.
Ahhhh I see, I have been listening to the album on cd when I should have been listening to it on vinyl! I have given this multiple listens (on cd) and I am still trying to figure out what is going on. I feel like I should like Swarth more than I do. Surprised it missed the Decibel top 40 though.
Ironically, I don't think that vinyl exists for this release yet.
I'm baffled by people saying they "want to like something more than they do."
Gates of Slumber, Portal, etc.
If I don't like something, I don't continually want to like it.
@Trawets niltgeov
Ha Ha, I understand what you mean, but I think for at least for the first few listens, it helps to remain optimistic about maybe finding a way to like it. Portal, as a group that I've seen praised in several places by writers and reviewers whose opinions I respect, is a band that's in this role for me. I'm getting hooked on a couple of songs, but I'm still struggling on the whole – but I'm still actively trying to like it more. My friend hated Opeth at first for a while – now they're his favorite band It's tough, though – Portal's music drains you. I think the image is what does it for me, though… they've nailed it in that aspect.
A good painting cannot be fully appreciated on a single viewing. That's art. Portal's aesthetic -from the artwork, the lyrical content, the costumes is thought-provoking. The music is strangely dense. What I meant by my above statement – is that I really appreciate the quality of Portal's artful product, but I am laboring to comprehend the dynamic of the sound. I do agree w/ theChaosPath that Portal are getting kudos from trustworthy sources (and they are on Profound Lore, also trustworthy imo)
My experience w/ this album so far reminds me of my experience w/ Tombs and Deathspell Omega – I dedicated a good deal of my listening time to see what others found so great, even though I didn't get either group for literally months. But at some point, both bands clicked for me in like a zen moment (albeit noisy and chaotic). I have only had a couple of weeks w/ Portal, but I am hoping for the same.
I really thought the bit about experiencing them on vinyl was product plug. wtf
"I'm baffled by people saying they "want to like something more than they do."
I didn't like a lot of what are now my favorite records initially so I go by experience and stick with promising albums for months or sometimes years. Also I just don't trust my first impressions at all. Sometimes I love something when it comes out and then after a few dozen listens it's absorbed and it I'm not compelled to revisit. But mostly the former, art isn't a good time from the go always. Perseverance seems to do me good, for one. So when repeated listens don't arrive at the greatness that was initially promised, it's a bummer.
I think I accepted lame, high-minded, pretentious, douchey interview responses as the metal status quo a long time ago, and just try not to read interviews with bands I like. Tom Warrior's blog evokes eyerolls aplenty, but "Monotheist" blew me away. Horror Illogium can use all the big words he wants, I'd rather just let the music ooze into my ears.
Yeah, Helm, I totally understand what you're saying. And I think it's well-taken.
But I'm not saying that music is prima facie good/bad; I am saying I never stick with music simply because I want it to be good.
Robert, ChaosPath, etc: Just b/c music is "getting kudos from trustworthy sources" doesn't mean it's worth your time. Quite the opposite, actually.
But I'm not sure what you're saying is the music? Does that include aesthetics, atmosphere and philosophy that is wrapped around the core of the sound?
Have you ever had a record where the actual melodies and compositions seemed unimpressive but the aesthetics and atmosphere seemed to strongly suggest the band knows what they're doing? Weren't you compelled to listen to it more and more until finally it made sense? Like visiting an alien world, it seems odd at first but experience leads to familiarity with the rules and tropes and then, beauty. Somehow my brain thinks that giving such a fantastical example will help. Uncovering secrets is very alluring in art.
I don't know where in your scale of 'I like it/I don't' such cases sit, but Gates of Slumber and Portal are like that for me: obviously designed to be exactly like how they are, no lack of effort involved nor is there any confusion and there is certainly a *promise* in there. But repeated listens still leave me cold.
Portal is like bitter Christmas cake. Take something most people don't like and make it even … better~!
Helm: Totally. But I don't "evaluate" music in a vacuum. There are myriad bands the excel in working up this total aesthetic package.
Deathspell Omega, which has come up, is certainly one and it doesn't take me a month of listening to go, Goddamn, I like this. The art/image/conceptual apparatus is just secondary gravy.
I enjoyed Portal's first record a lot. But the last two have been pretty boring for this guy. For all the talk about how dense this record is, my ears hear it as threadbare. It's not that I don't "get it;" it's that I don't like it.
@ Trawets – perhaps I should have explained a little better. When I remarked about how they're getting such good reviews everywhere, that's what intrigues even more a band I don't really get – I want to see if I can see what it is that these people who love it have found.