MELODIES OF ATONEMENT

Norwegian prog forerunners Leprous are now deep into their catalogue, expanding it with their eighth studio album 'Melodies of Atonement', enthusiastically striding towards the consolidation of their modern iteration that sees them playing with synths, deconstructing their songs, and presenting their inventive blend of vocal-forward compositions that approach the intensity of their first albums. In typical Leprous fashion, 'Melodies' is cerebrally melodic, hauntingly dramatic, and sonically intense, continuing their exploration of "quiet storm builds" in ever more inventive ways. The album seems to be a tad bit more diverse than its predecessor 'Aphelion' and a little more reliant upon the vocals' utilization as a key element of the songwriting, which ultimately seems to render some of the songs less rewarding in comparison to other heavyweights of the progressive metal scene.

Leprous even dare to explore the domain of the anthemic with the opening track, and to emphasize it even more on the choral section of 'Faceless', something that they are not so well-known for, and through the expansion of their musical vocabulary, show a great tendency for synth pomp, extremely overblown on the challenging 'Self-Satisfied Lullaby'. Even if creatively bold musical passages are present all throughout, the record mainly lacks in songwriting, with the drums standing a little more at the back, and even if there are quite a few technically intriguing moments, like the endings of 'I Hear the Sirens' or 'Like a Sunken Ship,' what becomes evident from 'Melodies of Atonement' is that Leprous are still stronger in the heavier and more intense moments, which they have occasionally been able to successfully mesh with playful, minimal and atmospheric instrumental build-ups; a strategy that generally tends to be a double-edged sword.

'Melodies' is nevertheless a good album that showcases the stylistic diversity of the band as well as their ability to create innovatively minimal and emotional progressive rock, incorporating a semi-art-pop approach towards the composition of heavy music.

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Posted Wednesday, October 9, 2024 | Review this album | Report (Review #3106603)

It's a grower. The first time I listened I was like... Wtf. Damn, it [%*!#]ing sucks. I gave it another try, I started enjoying it. It's not Leprous best effort, but it's definitely a nice addition to their discography. The good thing is that sounds really fresh. You won't find a copy & paste pro ... (read more)

Report this review (#3091659) | Posted by aguifs | Wednesday, September 18, 2024 | Review Permanlink

After Leprous vocalist Einar Solberg dropped his solo debut last year, I was hooked. Having come to his music from his collaborations with Ihsahn and Esa Holopainen, I was already in love with his acrobatic vocal antics. Being, of course, a longtime lover of prog rock and metal, I went into a "p ... (read more)

Report this review (#3088221) | Posted by TheCysquatch | Friday, September 6, 2024 | Review Permanlink

"Silently Walking Alone" begins, it's LEPROUS; although the electronic side explodes in addition; Leprousian djent shears, the expressive voice. "Atonement" pushes the electro approach and lets Einar moderate the energy with the typical chorus; the violence is played on pop-new-dark wave verses, ... (read more)

Report this review (#3088148) | Posted by alainPP | Friday, September 6, 2024 | Review Permanlink

Leprous have returned three years after their last release. I've been pretty blunt in my disappointment with Aphelion, Pitfalls, and Malina. (Malina came out before I started this site, but I've mentioned it.) They went from being an inventive, dynamic metal act with some creative songwriting to a r ... (read more)

Report this review (#3086582) | Posted by TheEliteExtremophile | Thursday, August 29, 2024 | Review Permanlink

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