If there is something that Leprous Norwegians are characterized by, it is the fact that they do not classify the sound of their music in any genre, despite the fact that they are usually categorized within the so-called “progressive rock / metal”. Proof of this is their sixth album, "Pitfalls", which was released on October 25.
From their previous material, “Malina” (2017), it was noted that Leprous were on the move to take a new musical direction, a natural evolution for a band that does not want to copy itself or anyone else. Before the release of "Pitfalls" the group told us that "we expected the unexpected. " Which they achieved, without a doubt. And that is what I personally call being "progressive"
In addition, something that also differentiates "Pitfalls" from the previous Leprous is that it is more personal and direct, without filters and without metaphors, since it deals openly with the fight with depression and anxiety of Einar Solberg (voices / keyboards) .
The album begins with the one that was the first single, “Below”, with a melancholic keyboard sound and Solberg's soft voice; After the first minute there is an explosion of guitars, bass and drums, as well as the inclusion of the cello by the Canadian Raphael Weinroth-Browne (who was also a key player on the album "Malina"). This theme could easily be part of the James Bond soundtrack.
"I Lose Hope" begins with a beat bass and drums that sounds really seventies… and adding those guitars, drums, strings and synthesizers, it gives it a certain touch pop / dance... imagine dancing, but on a sad dance floor. Without a doubt one of the strangest songs of these Norwegians, with a rather catchy rhythm.
In "Observe The Train" we can hear one of the best vocal performances by Einar Solberg. Despite the fact that the theme is slow, the presence of the battery of the prodigious Baard Kolstad is remarkable, since he knew how to add the element that makes you think of the moment when the train of your thoughts is passing ... but let it pass ... you will not upload ... "keep on breathing, observe the train, see it leaving ... breathe in, breathe out, release, let it all out" (keep breathing, watch the train, see it go ... inhale, exhale, release, let everything out). You will have a feeling of tranquility when the song ends.
And we are going back to the dance floor with “By My Throne”; here, without a doubt, the guitars of Tor Oddmund Suhrke and Robin Ognedal are notable, as well as the powerful bass of Simen Børven at the beginning of the song. The orchestration and drums give the perfect complement to this mesmerizing song.
Next, they present another family track, "Alleviate", which was their second single. Its premiere was somewhat controversial and divided the opinions of the band's followers, since one half believed that they sounded very pop and with that they put the last nail to the grave of what was the sound metal by Leprous, and the other half of the fans welcomed the band's sound change with open arms. Solberg's voice at its point, reaching impressive notes. Lyrically, it is one of the most positive themes.
"At The Bottom" obviously has an eighties influence with him intro on synthesizer and electronic drums. Without a doubt, in the 7:21 minutes this song lasts, Leprous clearly shows what the change in his sound represents; the layers they add, the vocal performance, the emphasis they give to each instrument - because here they all shine exuberantly, but without exaggerating ... the way in which it is built until reaching climax. Also, we must highlight the guest violinist Chris Baum (from the American band Bent Knee, with whom Leprous toured the United States and Canada).
"Distant Bells" is another of the longest tracks (7:22) and was the last single presented to us before releasing the album, which is totally different from the other two singles released by the Norwegian quintet. It should be noted that bassist Simen Børven is responsible for many of the melodies on this theme. The piano, the strings and the voice of Einar are the most predominant, until the climax is reached shortly before reaching 6 minutes, and boy, does Solberg's voice sound heartbreaking.
"Foreigner" is one of the songs that could most remind us of old Leprous with those heavier guitars, the beats on drums and bass… and even with certain lyrical lines, like at the beginning where it says “my Congregation is in flames ”, or“ trapped within my own fence”(Both references to the album“ The Congregation ”), as well as Einar's voice and that scream at the end. Could it be that they are saying goodbye to that “prog metal” sound or are they implying that it has not completely gone?
And to close with a flourish: "The Sky Is Red". What a theme! It has blown off my head from the first listen ... with that intro on guitar and the classical choir, yes, you read that right, a choir. Who would have imagined it. The most song prog, so to speak. In the 11:21 minutes that this track lasts, the Norwegians demonstrate their ability to compose complex songs, but without exaggeration. And just when I thought that the song was about to end, I see the timer, and almost reaching 7 minutes a strange begins riff (?) on guitar, followed by the drums, the beautiful choir ... and an auditory orgasm, if I may say so. The monstrosity that Leprous is can be summarized in this track ... and it is not easy to explain without sounding redundant. You have to hear it for yourselves.
Review by: Viry Abernethy [penci_review]
