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Portico's 2005 debut Shape to Form was a few effects pedals away from shoegazing, with driving guitars, pseudo-dissonant chord progressions, and reticent vocals leading the way. While their sophomore effort Progeny Blues's title might imply that it will follow in the path of its predescesor, the two CDs are quite distinct from one another. The weary poetics of Lyn Heinemann still weave themselves around rhythmically-chunky guitars - the difference is in the musical development of Progeny Blues, shaping emotions and temperaments far beyond the capability of their previous effort. Opening with the brief-but-solid "We Built a Dynasty," Portico are able to outline their song structure of choice, moving linearly through varying sections of music seamlessly. Like "Dynasty," many of the tracks on Progeny Blues are written in this variation of 'chain form,' often discarding the 'verse/chorus' model in favor of instrumental explorations that span half the track. The rhythmically-circular conclusion of "Crime Scene" is nothing short of impressive in that drummer Greg Murray is able to keep the beat anchored in spite of the drifting guitar riff. The eerie "It's Not Over Yet, Rochelle" glooms quietly until suddenly jolting to an up-tempo conclusion. There are certainly exceptions to this rule, such as the intensely intimate "Sincerely," which builds vocals around a single, driving note until the band - along with a triumphant horn section - builds to a crescendo. Ultimately, it's the inclusion of characteristic rock songs like "High Walls" and "Stand Down" that remove the pacing problems of Shape to Form. These catchy, melody-driven songs make the ambient, introspective tracks that much more powerful. As an album, Progeny Blues frames its musical diversity extremely well and begs for repeats listens. Portico's songwriting has certainly benefited from their improved musical skill and penchant for building upon their atmospheric timbre.

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