Year: 2021
Total Time: 56:10
Label: Inside Out
It is remarkable how a small prog band from Nottoden, Norway, has managed to make its name known in the most mainstream circles of modern metal / rock.
Of course, those who know them do not automatically mean that they are their fans. LEPROUS in the almost twenty years of their existence have managed to enter this category of bands that cause controversial reactions from the metal audience such as MASTODON, GOJIRA etc.
No matter what camp you are in, you can’t help but admit that the Norwegians are one of the most unique bands of the last two decades. They are constantly evolving and redefining themselves. From the most Avant Garde progressive metal of their debut to the wonderful atmospheric mix of polyrhythms, melodies and Falsetto vocals of Einar Solberg in “Coal” and “The Congregation”. With “Malina” that followed, they began to expand their sound beyond the classic metal / rock paths, culminating in “Pitfalls” with which they even flirted with synth pop!
If “Pitfalls” had been a tough nut to crack for some fans because of its pop influences and Solberg drawing all the lights on himself, “Aphelion” comes to put things a little in their place.
This of course doesn’t mean that LEPROUS has returned to some older sound. On the contrary, they continue and evolve their sound, expanding it even further. Just this time the album sounds more like a collective effort than a solo project.
The music in “Aphelion” I would say is a mixture of progressive rock, jazz, pop, symphonic/art rock and a little bit of metal. Solberg’s performances are more dramatic than ever, while Raphael Weinroth-Browne and Chris Baum’s participation in cello and violin respectively, give a more cinematic layer.
All the tracks share beautifully the intense with the calm. Technical parts are followed by atmospheric passages, while complex orchestrations alternate with pop choruses. Baard’s drumming is minimalist but impeccable. When he decides to go on the offensive it’s really a pleasure to listen to him. The same goes for the guitars of Suhrke and Ognedal, which jump very inventively from one genre to another.
All the compositions have something to say and something to win you over. For example, the hypnotic bass in “Silhouette” or the awesome guitar solo in “The Shadow Side”. However, the most special songs should be the last two with which the album closes. First, we have the ballad “Castaway Angels”, which starts sparingly with an acoustic guitar and Einar’s voice and is slowly built by the participation of all whole band. Last buy not least, we have “The Nighttime Disguise”; The track written by LEPROUS together with their fams. It is an excellent progressive song, embracing all the elements of the Norwegians and in which we hear again after 6 years, some growling vocals.
It is very difficult to find anything negative to say about this album as all the compositions are incredibly worked and inspired. Of course, the gradual move away from the more metal sound is a big blow for many of their older fans. With a gun in my head, I might say that all this expansion of their sound, where they switch from pop to Prog Metal and then to Art Rock, can tire some fans who are looking for a more “straight forward” sound. And maybe even remove a bit from their identity (well, what is this LEPROUS playing after all?), but send me to the boiling cauldrons of hell, if there is anyone who can listen to them for 10 seconds without realising who it is!
Rating: 8/10
Editor: Dimitris Benetatos
Related Link: LEPROUS – Official Page
