Review by Pete Finn for MPM
The Funeral Portrait is an emotional rock band hailing from the vibrant music scene in Atlanta, Georgia. Although formed in 2014, the current line-up has been together since 2019 and consists of Lee Jennings (vocals), Cody Weissinger (guitar), Rob Weston (bass), Caleb Freihaut (guitar/keyboards) and Homer Umbanhower (drums).
The band blends elements of rock and roll, punk rock, alt-hardcore and theatre all under a blanket of pop sensibility as they tell their stories of love, loss, anger, and grief in skilfully crafted songs. The Funeral Portrait continues to resonate with fans, who are known collectively as the “Coffin Crew”, while carving out their niche in the music world. So far, the band have released an EP ‘For the Dearly Departed’ in 2014, and followed-up with their debut album, ‘A Moment of Silence’ during 2016, a second EP ‘Songs From Beyond The Abyss (Vol. 1)’ was released in 2023.
This, their second studio release ‘Greetings From Suffocate City’, is due out on 13th September 2024 through Better Noise Music. The album contains an impressive 14-tracks with a combined running time of a shade less than 50-minutes. The Funeral Portrait have also invited a number of fellow artists to be part of the recording.
First up is, ‘Suffocate City’ which includes Spencer Charnas, vocalist with Ice Nine Kills. A power chord, then Jennings clear vocal brings the album to life. The vocals alternating with the band slickly. The full sound is enhanced with Charnas’ vocal sitting with that of Jennings. The tempo changes emphasising the passion contained within the track. An impressive start.
The current single ‘Blood Mother’, follows on. Umbanhower’s steady beat is accompanied by Jennings chanted vocal. This is slower with an appropriate heart-beat tempo, a slightly industrial sound. The eerie guitar riffs provided by Weissinger and Freihaut give the track a Muse-esque feel. It’s a clever mix.
‘Doom And Gloom’ is quicker and punchier, the rhythm section of Umbanhower and Weston play a prominent part, the mid-section allows Jennings to demonstrate his varied and controlled vocal talent as he belts out the soaring lyrics.
Jennings’ vocal opens ‘Holy Water’, it has a full-on arena anthem sound that hits straight between the ears. The beat is hard and uncompromising, with the dual guitar riffs forcing the emotion down your throat. The choral harmony during the bridge gives the track a “it’s our song, and we’re going to do what the fuck we want to” vibe. It’s a real monster of a track.
Asking Alexandria’s Danny Worsnop features on ‘Dark Thoughts’. This has a more of a melodic sound, a bit poppy, but with swagger. It’s mental health topic is covered with compassion; Freihaut’s keys add a sense of genuine feeling to the atmosphere.
‘You’re So Ugly When You Cry’, includes a guest performance by Bert McCracken of The Used. The start/stop tempo is working well with an electronica backdrop. Short, quick lyrics have a skater feel, but bubbling underneath you can hear unclean backing vocals. The piercing guitar solo grabs the attention and holds it tight.
‘Chernobyl’ brings an industrial metal sound. Thumping beats courtesy of Umbanhower and Weston, the guitars are dirty and distorted, whilst the keys bring a tidal wave of sound crashing down on the listener. The tracks tempo twists and turns, the music destroying genre boundaries with pure power.
By contrast ‘Dopamine’ is ballad like, slow, controlled and full of emotion. We’re led through the story by Jennings’ engaging lyrics, his voice the unashamed focal point. The guitars are let loose and deliver a pure 80’s solo.
Eva Under Fire vocalist Eva is the guest on ‘Voodoo Doll’. An emotive song about being close to someone who struggling with substance abuse. Jennings’ voice is again full of passion and soul. Cody Weissinger’s solo gives you goosebumps as it slices through the wall of rich sound. A strong message delivered with power and respect.
The special effects buttons get an outing for ‘Happier Than You’, the guitar strings are slackened a turn too, the result an energetic mix of electronica and dirty riffs. Jennings vocal rides above the swirling sounds, harmonised backing vocals carry his lyrics, providing a seamless journey within the track.
‘Alien’ is the album’s “Epic” track running for 4-minutes 10 seconds. The pace is calmer and measured. This will be a favourite when played live, lots of opportunities for audience participation from the catchy earworm chorus, to arm waving and head nodding possibilities. Many will feel a real-life connection with the lyrics. The track closes to a true 70’s sci-fi outro.
It feels slightly wrong to describe ‘Generation Psycho’ as bouncy. But the upbeat tempo and charging riff, with Jennings direct vocal makes you want to let loose, and get crazy. There’s clever use of the effects to distort the vocals. Umbanhower and Weston are relentless in their pounding rhythm. I think even a straight-jacket wouldn’t be able to keep you still whilst listening to this one.
The penultimate track ‘Stay Weird’ starts with Freihaut’s delicate piano intro, before morphing into a huge sounding arena anthem. A passionate song to support your own identity. The pace builds and small piano breaks amplify the feeling behind the message. Again, this will be a live favourite.
We arrive at the end of the album with ‘Hearse For Two’. Gentle strumming and soft piano brings in Jennings’ considerate vocal. The tempo slowly increases, but the focus is on Jennings as he narrates the words, the band joining in with harmonised backing vocals. The melody and chorus take root inside your subconscious and you’ll be singing along for the rest of the day.
Pre-orders for GREETINGS FROM SUFFOCATE CITY are available via digital download, CD, and vinyl HERE.
The production and performances are first class. The Funeral Portrait’s ‘Greetings from Suffocate City’, is an imaginative cocktail of genres and sounds incorporating elements of My Chemical Romance, Muse, Green Day and Shinedown, that creates a sound all of their own, with a commitment to exploring themes of loss, hope, and resilience, incorporating honest and vulnerable lyrics. Thus, further solidifying their unique identity in the present-day rock landscape. This was my first exposure to The Funeral Portrait, it won’t be my last, ’Holy Water’ is a total beast of a song, and I’ve added them to my “Must see live” list.
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