Released by: InsideOut Music
Release Date: August 30th, 2024
Genre: Progressive Metal
Links: https://leprous.net/
Line Up:
Tor Oddmund Suhrke (guitar)
Baard Kolstad (drums)
Einar Solberg (vocals/keyboards)
Robin Ognedal (guitars)
Simen Børven (bass)
Tracklist:
1. Silently Walking Alone
2. Atonement
3. My Specter
4. I Hear The Sirens
5. Like A Sunken Ship
6. Limbo
7. Faceless
8. Starlight
9. Self-Satisfied Lullaby
10. Unfree My Soul
Leprous holds nothing back on their latest release, Melodies of Atonement.
The band, known for their thematic, orchestral sounds and symphonic-style scores on previous records, opts to keep the beat moving with little downtime, delivering relatively more compact songs while retaining the signature sound they’re known for.
It’s a straightforward game of rock versus a roundabout prog style. As Solberg says, “I would describe it as more straight to the point. It’s kind of heavier in its own way, and it’s very modern-sounding and not retro at all. It has a lot of electronic elements. It’s heavy, it’s catchy, and there are a lot of songs that could potentially work as singles. I’m not sure it’s very prog… maybe a little here and there, but in general, not a lot of odd time signatures on this one. It’s more heavy than proggy, but not in that standard heavy way. I think people might get the wrong impression if I just say it’s heavy. It’s heavy when it needs to be!”
“Silent Walking Alone” starts off the album, and you’re immediately treated to a synth beat and drum rhythm that piques your interest. I appreciate the up-and-down motion you can feel during the verse, and when the chorus hits, you’re greeted with a wall of sound that is a force to be reckoned with. The song moves until the end, giving you a taste of what it feels like to silently walk alone.
“Atonement” reminded me of something from the Pitfalls album, which is a good thing because I love that album all around. I love the guitar work in this song and the effects used. The percussion is a work of art, and the emphasis Solberg places on the emotionally charged vocals is very apparent. I particularly enjoy the middle part where the sounds simmer down, and the percussion, vocals, and guitar play off each other. It sets up the final chorus and ending, where Solberg almost screams. The ending of this song is magical and leads perfectly into the next track.
“My Specter” gives the listener a real chance to experience Leprous in a 3D aspect during the first 1:40 of the song before it comes crashing in, with everything auditorily placed perfectly. During the beginning, I found myself looking around the room, wondering if someone was moving something—they did a really good job with the stereo sound of the drums! After the 1:40 mark, it’s appropriately heavy, and when we return to the verse with softer sounds, it feels right. But that doesn’t last long because you’re back in the chorus, bridge, and ending parts, which I must say are expertly done. It’s a head-nodder, even in the softer parts.
“I Hear The Sirens” is probably my favorite song. It’s a beautiful melody and mix of guitar and synth with delay and reverse effects, creating a landscape that forms the structure for the drums and bass to add layers just enough until we reach the 2:00 mark when the song hits heavy. The delay and reverse effects continue, giving a nice, airy feel to the song, even though it’s quite heavy. The vocals are everything you’d expect, and Solberg covers all the bases in this song, much to the appreciation of most fans, I’m sure. The ending of this song suggests that it could go on longer, and I feel like this is one where they could’ve broken into the chorus just one more time and ended with a real bang, but at the same time, it fits the mold nicely as it is.
“Like a Sunken Ship” starts right off in that groovy 4/4 time signature and lets the listener stay there with accents here and there. There’s constant movement in the song until about halfway through when Solberg takes over, and then the guitars, drums, and bass dance around, giving the emotional context to the song, which includes a scream that will bring the listener back to the likes of “Nighttime Disguise.” The song stays intense after that; the drums are key to giving this part the push it needs. We get into a key change momentarily, which you might notice, but then it returns to the “la la la” part, and the song fades into the end.
“Limbo” has another 4/4 groove feel, and I really enjoy it. The bass tone in the song is on point, as is the guitar tone, with a noticeable lack of bass and reverb in the guitar and more emphasis on the mid and treble aspects. This feel sticks through the chorus, and then we get the cowbell (to quote SNL, more cowbell, please… OK, back to the review). The song is one of those classic Leprous tracks that doesn’t disappoint, with character changes throughout and leaving the listener wanting more. It’s 6:28 in length but doesn’t feel that long. It’s a banger, and I could see this as a single of sorts.
“Faceless” has an intro that gives me those ’90s R&B samples meets rock vibes, but it works nicely. This song touches on metal, prog, and rock in the end. As the longest track, there’s a lot of room for the song to have movements or acts almost. I think this tops even “Sirens” in terms of favorites. This song also includes a solo, the first on the album. The song is a constant buildup with layering and sounds, and it maintains a consistent tempo, even in the quieter parts. For those who like to exercise, this would be a good song to work out to.
“Starlight” switches things up on us in typical Leprous style with the drums giving a different tempo before the first chorus, but I like it. This song is another build-up tune, but I’m digging the total movement surrounding the song. The core guitar work is what keeps me coming back. The second half of the song features another really good solo, something not found in too many Leprous songs.
“Self-Satisfied Lullaby” is aptly named, as it has a lullaby sound all around. The song features a lot of programmed sounds with a very heavy focus on the vocals and layering. The drums play around a bit while the bass comes in to pave the path. Around 4:30, everything comes together, and we’re presented with the full package—a very moving sonic soundscape. You can feel the forward motion in the song, especially in the last two minutes.
“Unfree My Soul” is a stoic-feeling song, not overly complex but powerful. The instruments aren’t overly intricate, except for the delayed guitar, but they make a point, proving that less is more even when the wall of sound hits the listener. It’s not overdone, and I appreciate that. The song aesthetically fits both lyrically and musically.
This album may be from a traditionally prog rock band, but it presents itself as a rock album at its core while incorporating elements from a few notable different genres.
All in all, I want to turn this album on and up because it’s got such a feel, and it’s one of the few that keeps me coming back and hearing new things each time.
I cannot wait to see this band live and witness what they’ll do with lighting and stage presence.
Written by: Chris Rugowski
Ratings: 10/10
Editors Pick 
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