ALBUM REVIEW: Leprous - Melodies of Atonement

The music of Leprous over the years has seen them rightfully regarded as forerunners and creative visionaries within progressive rock circles. Distinctly unique and never tethered by individual styles or sounds, the Norwegian five-piece have set themselves very high standards with the continual brilliant run of albums culminating in the stunning Pitfalls (2019) and Aphelion (2021). 

That quality is instantly recognised here on Melodies of Atonement as the moody opener Silently Walking Alone with its stop start twisted refrains is as grand as it is unnerving. As crashing guitar chords rain down over a mid-paced fizzing rhythm, it certainly possesses a hypnotic energy. Somewhat of an anthemic call to arms with a jabbing doomy bounce there is an electricity and spark within the song and  you wonder have Leprous played their trump card too soon. With each passing moment you realise Melodies of Atonement is very special and indeed each song is a trump card. 

The vocals of Einer Solberg are naturally front and centre and it will be his masterful and soulful performance that garners the column inches but the drums of Baard Kolstad carry so much weight and character illuminating and adding such sharpness to each song. The dark warped pop of Like A Sunken Ship has a brooding element of minimalistic beauty to it. Subtle sound effects and percussive brilliance lure you in as it evolves from the simple and eerie into a sonic monster. Solberg, takes on a darker more menacing persona which is much needed as for a moment with the punchy grooves, colossal riffs we witness Leprous at their most primal and heaviest. It’s evident there is a lessening of orchestral arrangements than that of previous albums leading to a more direct and instant and dare I say heavier sound. The cutting cavernous riffs of My Speaker sit aside delicate, ambient electronica and whilst the contrast is vast, Leprous make it work. 

Such are these variances across the album they all combine and truly enhance the dynamic appeal. Often, it’s the complex and clever compositions that is the making of quality progressive music. Equally though, as Leprous show, it’s simple that hits the spot without overdoing or adding too much. They can sound huge even when little is going on, where the quiet more reflective songs bristle with life and carry just as much emotional and sonic potency. That’s not to say there are not transformative moments. Faceless has a slow burn, unravelling beauty and a stunning bluesy dreamy guitar lingers as the track builds. The dazzling dynamics culminate in stunning crescendo. With a gospel music like feeling and an uplifting quality the kaleidoscopic communion of the full band plus strings, piano and the pulsating electronic backdrop Faceless is as restorative as it is beautiful. 

The majestic brilliance of Melodies of Atonement is not merely one standout factor but a combination of many expertly executed elements. The delicate progressive arrangements and electronic flourishes prove a victorious foil to the crushing riffs and rhythmic bounce and groove that are the vibrant backbone of the album. There is a deep melancholic pull at the core yet conversely the speed and subtlety with which Leprous shift to a brighter and uplifting atmosphere is to be applauded. The journey of innovation that Leprous have been pioneering and building on for a few years leads to this. Music can be life affirming and contemplative in equal measure. It can be enriching, compelling, comforting and beautiful. Melodies of Atonement is all of these and in it Leprous have crafted a expansive dynamic classic.

Melodies of Atonement is out on 30th August via Inside Out Music

Review by Robbie Maguire