It is comforting then to say that on Portent, the group's first non-untitled work, they not only continue those aspects that made their work so strong on their widely acclaimed early material and debut release but expand upon it. The songs here, for instance, are substantially girthier, the entire album being comprised of three sweeping epics and a closing outro. The tracks are masterclasses in progressive songwriting, featuring a bevy of ideas in each song to justify their runtime but a rapt attention and sensitivity to how they emotionally develop from one to the next. None of these three songs feel haphazard and neither do they feel stilted or overly constructed. Also, not only does the internal logic of each track develop competently upon themselves, unfurling like a great transcendent banner of hope and death, but the tracks likewise lead well emotionally one into the next. If Yellow Eyes has the best abstract black metal release of the year, then False triumphs on a more traditional scale, taking old tropes and refreshing them with the simple act of playing them with meaning and a keen ear for powerful melodies and strong emotional logic.

Minneapolis black metal band False recently released their very good new album Portent on Gilead Media (that's an excerpt of Langdon Hickman's review for Invisible Oranges above), and they are now gearing up to perform the album at two exclusive East Coast shows: Philly's Kung Fu Necktie on August 9 with Sonja and Dumal (tickets) and Brooklyn's Saint Vitus on August 10 with Vile Creature and Sonja (tickets).

Vile Creature, who are on the recently released Riffs For Reproductive Justice compilation with False and Sonja, tweeted, "We are playing a song for the first time live & can't wait to experience the vicious new False record Portent live in its entirety."

Listen to Portent and Riffs For Reproductive Justice below...