Tag Archives: Malina

Leprous – Malina – Album Review

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Artist: Leprous

Album Title: Malina

Label: InsideOut Music

Date of Release: 25 August 2017

One of the very biggest compliments that I can bestow upon a band is to say that they sound unique. In a day-and-age where originality is harder to come by than a public sector pay rise, it is quite an accolade to be able to declare to the world ‘we sound like no-one else’. And that is exactly what Leprous can boast. Good on them too, I say.

Ever since their debut, ‘Tall Poppy Syndrome’ (2009), the Norwegian outfit has delivered superb music. In the early days, there was a touch more of the generic about them as they cut their teeth in the tough world of music whilst proudly wearing a few of their inspirations on their sleeves. The album was still brilliant, with a vibrancy and confidence thoroughly belying the incredibly young age of the individuals concerned. However, as they have become older, wiser, and ever-more proficient, the output has become more unique and, as a result, ever more intriguing.

I confess here and now my love for Leprous. However, that being said, my love is not the easy kind where I metaphorically fall into their arms, swooning at the immediate saccharine beauty of their music. Instead, it is a more reserved love, born out of respect, admiration and often astonishment at what I am hearing. That’s not to say that Leprous’ music is not beautiful, because it is, but they never seem to make it easy. And why should they? This is prog after all.

Whatever album you listen to within the back catalogue, you must make the effort, listen hard and work at it. If you do, ultimately the rewards will come. The same is true of ‘Malina’, the quintet’s fifth release to date.

At this point, I will admit to a certain amount of sympathy for Leprous, although the reason for the sympathy has been somewhat self-induced by the Norwegians. You see, their debut placed the bar very high. And remarkably, every release since then has nudged that bar higher and higher. Not one of their four previous albums has been less than brilliant. Always pushing themselves, always honing their output and tweaking their sound, they have consistently released brilliance without ever standing still. That’s all very well and good, but how can Leprous possibly continue to improve when each previous release is so strong?

Whatever the answer and whatever their strategy, something must be working though because, with ‘Malina’, they’ve done it again. You can hear the influences of previous albums, ‘The Congregation’ (2015) specifically. But importantly, the output and musical direction has been tweaked yet again; some might even baulk at the word ‘tweaked’. Nevertheless the Leprous of 2017 via ‘Malina’ sounds fresh, interesting, compelling whilst remaining totally, unequivocally unique.

True to form, my first spin through did not result in love at first listen, far from it. Instead it resulted in shrugged shoulders and apathy. My second brought consternation; would I ever like what I am hearing? The answer is ‘yes’, but not until at least the fifth pass through. Suddenly, chinks of light began to emerge, my mind opened and I now hear music full of variety, full of drama, full of melody, and full of emotion.

The rumours circulating on the internet are true, in that ‘Malina’ is definitely a less heavy beast, but to these ears, that’s only if you consider heavy guitars and pounding rhythms to be sonically heavy. ‘Malina’ has these elements and they use them wisely. But they are used less. And, as with each and every Leprous release before this, the music remains intricate, full of atmosphere and crushingly intense. It is also a multi-layered and multi-faceted affair too, with plenty going on in each composition, even if that’s not how it immediately appears.

Much of the intensity is down to the vocals of Einar Solberg, the guy that only got into music because he was coerced into it by his family. Solberg has a tone and delivery quite unlike all others. He can be melodious, he can be angry and he can be sombre, fragile, and deeply emotional. Like a chameleon, he can bring exactly what is needed to each and every composition. And he does it effortlessly. On ‘Malina’, Solberg has clearly worked a lot on his clean singing and in fact, has all but ditched the more abrasive delivery that featured so strongly on earlier albums.

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Credit: Bjørn Tore Moen

The aforementioned intensity is also created, in part, by the song writing and the absolute attention to detail. Each of the eleven tracks has been beautifully crafted and executed with a loving care. There is an ebb and flow to the material too, from atmospheric minimalism to the bang and crash that you’d expect from a band consistently labelled in some quarters as ‘progressive metal’, despite more of a rock sheen of late. Whether or not ‘Malina’ is a concept album, the music itself undeniably tells a story. Dip in and out of the record if you wish, for each track stands on its own. For maximum enjoyment however, ‘Malina’ should be listened to in its entirety.

‘Bonneville’ is the perfect introduction to the record and a firm insight into the overall stylistic direction of ‘Malina’. With its stark, minimal soundscapes at the outset, it gently builds as it develops, ultimately becoming heavier and more robust as it nears its conclusion. The melodies become more pronounced with repeated listens and those familiar guitar tones of Tor Oddmund Suhrke and newbie Robin Ognedal offer some reserved muscularity.

Unfortunately for ‘Bonneville’, it is then followed by ‘Stuck’ which is an absolute monster, arguably my favourite track on the album currently. I could spend hours dissecting it but suffice to say that there is a lot going on within the composition. Again, with perseverance, the melodic intent becomes more obvious and addictive, culminating in a very strong chorus, almost pop-like in many ways. However, I love the way the song frequently undulates and transitions from quiet introspection to something altogether more powerful. And then there’s the wonderful juxtaposition in the latter stages between the modern and the traditional, when the utterly gorgeous cello/strings of guest musician Raphael Weinroth-Browne join the electronic sounds created by Solberg’s synths. It makes for a truly epic finale.

Thereafter, we’re treated to a run of songs that are very nearly as excellent in their own way. ‘From The Flame’ offers one of the most openly catchy choruses as it ploughs a slightly more straight-forward construction, relative to the usual Leprous output of course. The properly progressive ‘Captive’ by contrast is all about the rhythms, with drummer Baard Kolstad and bassist Simen Børven working overtime to act as the foundation for this lurching number, enhanced by layers of vocals and more genuinely interesting synth sounds and effects. ‘Illuminate’ reintroduces strong melodies and manages to be the perfect contradiction by simultaneously being both upbeat and densely introspective, the latter achieved in part by the swathes of gentle keys that nestle just beneath the surface.

‘Leashes’ is smothered in emotion, quiet and unobtrusive for large parts but then dominated by some of the best, most impassioned vocals from Solberg when things take a turn for the heavier and more intense. The ebb and flow continues courtesy of ‘Mirage’ which enters the fray with some seriously heavy-sounding instrumentation from what I assume emanates from the four and six-strings respectively. But the chorus, when it hits, is bright, breezy and distinctly pop-ish in tone albeit underpinned by a clever, complex beat that seems second nature to Leprous. The djent-esque outro is a clever touch too, with props going to Børven again for some flamboyant bass work.

The title track, with the reintroduction of those lush strings is a dark, sombre composition that occasionally bubbles up via some well-placed percussion from Kolstad, but generally remains an intense, claustrophobic experience due to its fragility and emotional minimalism. It’s not an easy listen, but the pay-off is well worth the effort.

‘Coma’ reintroduces a faster pace, interesting because of the impressive drumming and incessant nature, whilst ‘The Weight of Disaster’ is a lumbering, loping hector but in the best way possible. The hint of groove finds much favour with me, particularly with the way I which it is not overplayed. In fact, this is another track of huge contrasts, where extended passages of quiet contemplation are butted up against moments of forceful intent. And it works thanks to the adeptness and sophistication of the song writing.

It is left to ‘The Last Milestone’ to close out ‘Malina’ and it does so in fabulous style. It is a crushingly beautiful, poignant and sad hymn, led by the strings of Raphael Weinroth-Browne and the sorrowful, almost operatic delivery of Solberg. It is a very different approach for Leprous but not for a single second do I believe that it doesn’t belong on this record. It is a bold way to end, but just like the opening track, it is perfectly placed, providing maximum impact in the process.

To conclude, ‘Malina’ is ultimately a stunning record. In so many ways it remains faithful to the core Leprous sound but it is bound to raise the eyebrows of many existing fans at the same time. The more rhythmic, staccato guitar work remains, as does the flair for the deceptively complex compositional and instrumental work. That said, ‘Malina’ feels smoother, even more assured and, dare I say it, more mature. Put simply, it is the sound of progressive music par excellence. Just don’t dismiss it after the first listen because if you do, you’ll be making a big mistake.

The Score of Much Metal: 9.5

If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:

2015 reviews
2016 reviews

The Lurking Fear – Out of the Voiceless Grave
Prospekt – The Illuminated Sky
Wintersun – The Forest Seasons
Witherfall – Nocturnes And Requiems
Tuesday The Sky – Drift
Anthriel – Transcendence
Decapitated – Anticult
Cosmograf – The Hay-Man Dreams
Orden Ogan – Gunmen
Iced Earth – Incorruptible
Anathema – The Optimist
Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

Essential rock & metal releases still to come in 2017 – Part 1

It’s true what they say – the older you get, the faster time disappears. I mean, it doesn’t seem possible that we are already half-way through 2017 for a start. And yet here I am. With my round-up of the best releases so far in 2017 under my belt, it is time to turn my attention to the future and consider what else is due to cross our paths this year.

If the first half is anything to go by, we’re in for a treat, I can tell you. I don’t remember a year where I’ve given out so many high scores. Unlike last year though, I have yet to bestow a perfect 10 on anyone, although the new Voyager album, ‘Ghost Mile’, Persefone’s ‘Aathma’ and Big Big Train’s ‘Grimspound’ all came deservedly close.

But enough about the past, here’s to the future…

19106010_10154760456619077_388154856530751419_nCradle of Filth
Cryptoriana – The Seductiveness of Decay
Release date: 22 September 2017

I was going off the boil regarding Suffolk’s most famous extreme metal export. I was a member of the fan club many years ago in my late teens having worshiped the likes of ‘Dusk…And Her Embrace’ and ‘Cruelty And The Beast’. But after a string of less-than-stellar releases throughout the noughties, I began to re-evaluate. That was until a couple of years ago and the release of ‘Hammer Of The Witches’. Their best since their heyday, it brought me kicking and screaming back into the fold. I now cannot wait for the next chapter in the saga of Dani Filth and co.

This next chapter is entitled ‘Cryptoriana – The Seductiveness of Decay’ and is due for release on 22nd September via Nuclear Blast. Watch out for the first single release very soon too.

19146029_10154398261857105_6108765129743949462_nCaligula’s Horse
In Contact
Release date: 15 September 2017

There are a huge number of excellent bands coming from Australia these days but alongside Vanishing Point and Voyager, Caligula’s Horse are one of the very best. Their previous album, ‘Bloom’ was superb, one of the best releases of 2015. In fact, the more I listen to this record, the better it gets – I should have placed it even higher in my end of year list, but hindsight is a wonderful thing. It is undeniably prog but it is intelligent, modern and full of the kind of swagger and assuredness that only the very best bands display.

The new album is quoted as being “an immense conceptual work”. Enigmatically-entitled ‘In Contact’, it is due for release on 15th September via InsideOut Music, one of the best and most consistent labels out there today. Just listen to the teaser trailer below and tell me this doesn’t sound exciting…

18556032_10155643571650101_6880641999645372966_nLeprous
Malina
Release date: 25 August 2017

It is an undeniable fact that Norwegian band Leprous are now regarded as one of the very best bands in the prog metal genre. They have yet to release anything less than extraordinary in their 16 year-career to date. And they are still young and still learning. But crucially, they appear to remain extremely hungry and out to prove that they deserve to build upon the accolades that they have rightly received so far in their career.

They have released a new track, ‘From The Flame’, from their upcoming new album, entitled ‘Malina’ which is released on August 25th. It remains very recognisable as Leprous but also a little different at the same time. In interview, the band describes the record as a ‘natural-sounding organic album’, but still modern with great songs. If that’s the case, and based upon the first single, count me in.

19420708_1698781136823429_4102190633439104941_nArch Enemy
Will To Power
Release date: 8 September 2017

I’m no longer the biggest Arch Enemy fan, it has to be said. I loved ‘Stigmata’ and the follow-up ‘Burning Bridges’. But that was several years ago and since then, the Swedish extreme metal band with a penchant for over-the-top guitar histrionics have ditched original singer Johan Liiva, replacing him with first Angela Gossow and now Alissa White-Gluz. In fact, there will be a dwindling number of fans even aware that Liiva was ever involved now that the band have re-recorded those aforementioned albums. A bad move in my opinion, but what do I know?

Nevertheless, when a highly-respected fellow journo of long standing makes positive noises about the new material due to see the light of day in the near future, who am I to not take notice? Particularly when the positive noises refer to some brilliantly flamboyant guitar work, for which I am a sucker at the best of times. The door for Arch Enemy has not been slammed shut yet, but this is probably their last chance as far as I’m concerned.

‘Will To Power’ is due to be released on 8th September 2017 on Century Media Records.

Threshold
Legends Of The Shires
Release date: TBC

The Threshold camp has gone a little quiet since the rather shock news surfaced that the UK progressive metal band had parted ways for a second time with Damian Wilson. Aside from news that the band are looking for fans to take part in the shooting of a new video, we’ve not heard anything new about the new material. Until that point, we were fully expecting the new album, ‘Legends of the Shires’ to surface in the latter stages of 2017. I still think we will have the double record, it’s just a matter of exactly when.

It is also a matter of who will be the vocalist on the record, as I understand that the album had been recorded with Wilson behind the mic. I suspect it’ll be Morgan, but nothing as far as I’m aware has been confirmed. You wait, as soon as I publish this post, an announcement will be made. An announcement is also still to be made regarding the guitar position made vacant by the recently departed Pete Morten. Interesting times ahead for one of my favourite prog bands.