Photo Credit: Grzegorz Golebiowski
Ever since they first debuted with Tall Poppy Syndrome in 2009, Leprous have been taking the prog scene by storm with each subsequent release, quickly cementing them as one of the best prog acts around. Now, three years after Aphelion and 15 years after that fateful debut album, the Norwegian quintet have returned with their latest iteration of their craft: Melodies of Atonement.
After previously taking their sound into more symphonic territories, this ninth studio effort sees the band shave off the excess and head squarely into the heavy realm once again. Not that their music had ever not been heavy, but with the cellos, violins and trombones removed, these 10 songs can once again focus on each member’s strengths. And boy oh boy, does it deliver.
Right from the get-go, Silently Walking Alone greets listeners with the elements that everyone has come to expect from Leprous: heavily modulated synths, Einar Solberg’s signature piercing vocals, and a sonic tension that builds into a crescendo towards the end of the track. This particular blueprint is closely followed by following track Atonement, which also served as the first single for the album and highlights Robin Ognedal’s abilities with a Fender Stratocaster and a slide – once you hear him go to town on this track, you’ll never get it out of your head. The heavy aspect of this release shines through on tracks such as Like a Sunken Ship, with its combination of Tor Oddmund Suhrke’s crushing guitars and the return of Solberg’s screams for a short but oh so satisfying few seconds.
Elsewhere, Simen Børven’s bass playing shines on tracks such as Faceless and Limbo – two tracks that opt for a more balanced approach with more soft-spoken verses and punchy choruses, as well as the possibility of some crowd interaction moments in the future with some of the chantier vocal passages. Baard Kolstadt’s drumming also shines throughout the record and on the latter of the two – but then again, it’s been widely documented what a powerhouse drummer he is, so none of this should come as a surprise by now.
Finally, tracks such as Starlight and Self-Satisfied Lullaby also showcase the band’s penchant for sprinkling in some more laid-back moments throughout their records, with the former offering soft, plucked guitars in its verses, while the latter highlight’s Solberg’s soothing vocals while displaying some ballad sensibilities. My Specter offsets the ever-present heavy guitars with some electronics-laden passages that remind one of a sonar radar, and I Hear the Sirens also features the sound of trickling synths which echo the lead guitar parts towards the end of the track.
In the end, Melodies of Atonement offers a duality of heavy moments and soothing soundscapes that has become synonymous with the sound of Leprous over the course of the past few years. Though some might lament the lack of the symphonic elements highlighted across previous releases, this ninth album will ultimately be considered a step in the right direction by many, especially early fans of the band.
9/10
Standout Tracks: Silently Walking Alone, Atonement, Like a Sunken Ship, Faceless
For Fans Of: Haken, Caligula’s Horse, Ihsahn, Agent Fresco
Written by: Florin Petrut
