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KIRK HAMMETT
Portals EP

Blackened Recordings (2022)
Rating: 7/10

This is the sort of solo project that may leave some fans asking why Kirk Hammett’s band Metallica hasn’t produced anything this good for decades. It may also be the sort of outing which alienates the more narrow-minded of metal fans who were expecting a thrash record.

Portals is very much Kirk Hammett’s soundtrack to his soul, a progressive rock-cum-metal instrumental offering inspired by films, which at times veers into Dream Theatre / Joe Satriani territory but without the overall technicality.

What you get here are flashes of searing strings, mesmeric jabs of mood, flourishes of John Zorn via the late Ennio Morricone but without the genius insanity, and then the occasional scenery of Metallica’s more epic moments, yet without the boredom.

Portals is a four-track affair that comes as a pleasant experience showcasing Hammett’s talents as a guitarist, aided on two tracks by conductor Edwin Outwater who lead the San Francisco Symphony Orchestra that worked with Metallica on their S&M² production.

Opener ‘Maiden And The Monster’ begins somewhat suspenseful, almost bluesy in its strain, which hints at a Pink Floydian soundscape of matter, drifting cosmically as a mere sci-fi backdrop. Hammett is certainly no Satriani, but for seven-minutes we’re given insight into the guitatist’s psyche as he noodles away effortlessly, expressing himself beyond the metal genre but remaining evocative and suspenseful with 70s meanderings.

‘The Jinn’ fares better, another lengthy yet varied trip beginning like a Steve Vai episode of swirling colours and vibrant echoes of stark tapping percussion and galactic splashes. However, Hammett then steps into the metal fray, bringing a metallic stomp to the song hinting at George Lynch funkiness and, dare I say, some Living Colour attitude and streetwise groove. Again, it’s not overtly baffling, complex or heavy, merely expressive as it flirts with moods.

‘High Plains Drifter’ flits with piano, tinkling in the twilight to accompany the end credits of some otherworldly movie. Militant drums march, Morricone stamps his approval with a Western tinge and I suddenly feel like I’m watching the soundtrack to a console game; dark, brooding, yet exuding beauty.

But it’s on the eight-minute closer ‘The Incantation’ where Hammett truly shines. His soloing impresses as it always has done as the track toys and tinkles without shredding the brain.

As for the negative aspects, well, in spite of the expressions on offer here some may find such an outing rather dull, however much it attempts to lead us off the garden path. The tone of the leads seems slightly off, the mix just isn’t that great, and Paul Gilbert most certainly will not be quaking in his boots.

Some of the Middle Eastern streaks are pleasant and there are those Ennio Morricone dust-layered passages which trickle nicely, but such a record may only appear as visionary to those naïve enough to think that Hammett is up there with the best.

While seemingly existing forever in not just Metallica’s but also James Hetfield’s shadow, Kirk Hammett has finally been given the blessing of his band to spread his wings. I am on board although thankful it’s only four tracks, as anything more may test the nerves.

Portals – unlike Metallica over the past couple of decades – doesn’t rehash or feel false. Instead, it floats with ease, casting off vapours in daydream swirls while applying spicier metallic chunks. This isn’t quite the portal to another dimension I was expecting, but more of a fleeting glimpse of wonder and ease; expressive yet still kind of predictable, but engaging enough for its duration.

Neil Arnold

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