Consistently recognized as one of the hardest working and most ground-breaking acts on the indie landscape, Portugal. The Man are back (again) with their fifth album in the last five years. I’ve always viewed their eclectic style as a sort of controlled chaos. Spontaneity has always been a close friend of this Oregonian quartet (by way of Alaska), and American Ghetto is no different. One of their greatest strengths has always been the seemingly effortless blend of various styles of popular music. It’s not unusual for them to shift from overtly electro dance beats directly into soulful choruses that are reminiscent of a simpler time in rock music.

The flamboyant manner in which Portugal. The Man have attacked their previous albums remains ever present on American Ghetto. A manic celebration of style and form make it easy to realize why music is such an incredible medium for expression. The line Portugal. The Man seem constantly struggle with is also present as well. They have never been afraid to push the envelope of experimentation with their style, and it doesn’t always translate into songs that will be embraced by the masses. At the same time, it’s almost as if they realize that they deserve to be heard and accepted by a broader audience. Is it necessarily wise to risk comprising the integrity of your art in order to gain more mass appeal? The staunchest defenders of art-rock and neo-psychedelic styling will argue that it is not. This record seems to have found a semblance of balance, and is considerably easier to listen to for those just making PTM’s acquaintance.

From the start, American Ghetto is captivating in manner only PTM are able to achieve. The intoxicating croons of front man John Baldwin Gourley seem to dare you to walk away. Atmospheric undertones are ever-present throughout the album, presenting a more defined theme than on some of their previous work. The hopeless cries of “No one wants you” on Fantastic Pace seem to capture an emptiness that many current indie acts try so hard to portray, but more often than not just seem forced. And then in true PTM fashion the song breaks down into an almost electro-funk groove subtly at the end, invoking feelings of a playful punch in the arm from a friend imploring you to cheer up.

The album finishes beautifully, with the strangely smooth track "Some Men" informing us all that better things are upon the horizon before the final song When the War Ends takes listeners home with an electro groove reminiscent of MGMT as Gourley brags about having soul for days. Never a band to mince words, PTM continue to captivate audiences with their eclectic blend musical styles. American Ghetto is another treasure to add to PTM’s already impressive resume.