Leprous Melodies of Atonement

Let’s talk about some prog. We don’t prog a lot here, so let’s shake it up a bit. Leprous formed over twenty years ago and since 2009 have released eight LPs, the latest of which - Melodies of Atonement - is the topic of today’s review.  As is often the case with bands in this space, Leprous started out a lot more aggressive and intense and over time have injected more melodic ideas into their music, but of course that doesn’t mean that this band doesn’t have metal cred. In fact, Leprous’ lineup over the years has dabbled in supporting Ihsahn (Emperor) in his live endeavors as well as on some of his solo records such as Arktis. They’re always around the metal scene but have never fully been ‘in’ it. To be clear, this record will probably not change that, but there are some moments and songs on this album that did surprise me with just how heavy they were willing to go, relatively.

One of the chief attractions of this band is vocalist Einar Solberg. His range and power at the top of it is a rare thing in music and he sings every note with intent and grace, and can do so perfectly in a live setting as well. This is the center around which all other elements of the band and their songs revolve. Simply put, if you don’t get on with these vocals, you’re not going to like Melodies of Atonement. If you’re a fan, then buckle up.

Warbling keys, thudding drums, lamenting vocals all set the tone as this album opens before Einar blows the lid off of the lead track “Silently Walking Alone.” This is the sort of thing that we expect from Leprous at this point and while it does feel maybe a bit on the nose and very on brand from them, it just works. The second song “Atonement” follows and perhaps sticks a little too close to that previous song’s format with the subdued, laid back verses followed by a bombastic chorus. While the format may be getting a little tired, there’s simply no denying just how powerful Einar’s voice has become and there’s simply no one else in this space that really even hold a candle to him. It’s a goddamn gift.

Let’s talk about some tracks that did a great job of sort of bucking this familiar format that Leprous has been employing. Remember, I did say that there were some surprises to be heard. “I Hear the Sirens” finds Leprous toying with a much more subdued and flatter amplitude across this song and I think that really works well as a bit of a c-c-c-c-combo breaker and it really works sonically letting the band settle into something a little more nuanced rather than playing it cool and building the tension to pop off on the chorus. It also sets up the second surprise, “Like A Sunken Ship.” This song sees Leprous play it cool before letting loose but they rocket right past all of the other highs that Melodies of Atonement had previously established. The vocals go off the charts into a full on scream and the rhythm section and instrumentation just goes off of the fucking rails and it’s a thing of beauty. 

The last moment that I will mention that was new and interesting on this record is the trippy “Self-Satisfied Lullaby.” Lots of vocal harmonies, synth leads, programmed beats as well as drums, and tons more get thrown at the wall and from where I’m sitting they all stick. This is something that I hadn’t full expected on this record but it stands out as a risk at worst and brave at best. I think it works but fans could be split on it. Frankly that is how it often goes with Leprous and this album as well. I like a lot of what is going on here and the deviations feel welcome but perhaps the rest of the album around these bigger moments should have been spiced up a little bit to keep the record from giving whiplash when one presses play. That being said, I love the confidence and ideas that are on display here. I could use an entire record that sounds like “Self-Satisfied Lullaby.”

Bottom Line: Leprous aren’t showing their age. They're not sitting still or phoning it in even after 20 years and 8 albums. There are some great tunes and ideas on Melodies of Atonement but at times it can feel a little scattered and like there’s a little bit of an identity crisis going on. Also, that cover art isn’t doing it any favors. However, if this is your first time hearing the band or if you’ve been a fan since the beginning, there’s something here for everyone. Einar’s voice, the dynamic songwriting, and swelling instrumentation make this record something that’s pleasant to listen to and there’s few if any bands that can give you the same experience as Leprous.