Leprous
Malina

Progressive metal bands are unlike the more traditionally metal ones, who almost feel obligated to remain faithful to their own flag and adhere to an assumed pact with their often narrow-minded fans… Progressive metal bands consist of more open-minded and courageous people who don't necessarily need approval to feel glorified; if they want to diverge, more or less strikingly, from metal, they just do it! And even the fans of the genre are certainly more open-minded and ready to embrace even a less metal product.

The latest work by Leprous, “Malina”, seems to follow this logic. Already announcing in advance that the new work would be “more rock than metal” could, in other sectors, have been equivalent to shooting oneself in the foot, just as well as the fact that the album was leaked before its release (something that was practically par for the course until 2010-2011, before copies provided in advance to reviewers and insiders were protected with a code to detect any potential leak). But again, we are in an environment characterized by a certain open-mindedness, and the matter definitely arouses curiosity rather than dismay.

Indeed, this “Malina” removes the metal component from Leprous’s music and directs them toward a very futuristic prog-rock that still retains sharp guitars, great vocal power, and energetic experimentation of always ingenious and well-thought-out solutions. In short, we have all the characteristics that have made the Norwegian band important and prominent but condensed into a smoother overall sound, albeit still a bit edgy. Many already saw a softening of the sounds in “The Congregation” if not even in “Coal”, but probably even in the early albums the impression that metal was not really Leprous’s primary prerogative but rather a tangible backdrop was quite felt. Therefore, we can say that this de-metallization of Leprous’s sound is not really a big surprise; it is probably just the confirmation of some impressions, just a decisive step that the band wanted to take from the outset but perhaps couldn’t find the right moment to do so; as if the band felt that metal component was not their own and wanted to find the courage to get rid of it… and now they have found it.

However, the decision to move away from metal involved another risk, which the band was able to avoid with their incredible class: falling into standardism or imitation. Bands that we have seen move away from metal have often followed common paths, diving into electronics and alternative rock (Ulver, The Gathering, Anathema) or seventies rock revivalism (Riverside, Pain of Salvation, Opeth); instead, they have continued to be Leprous, without resembling anyone; maybe there’s a bit of an indie influence visible but just barely detectable, because when you listen to the album, it feels like the baggage comes from one band alone, Leprous; while I often manage to make external comparisons in my reviews, here I can’t and I don’t even want to, because it would affect the incredible personality of this band.

And so we are faced with tracks of great impact like the jazzy “Bonneville”, the powerful and catchy “From the Flame” with its captivating chorus, just as captivating as the chorus of “Leashes”, the elegant “Illuminate” strong with its original electro-funk-jazz-rock mix, the very hypnotic electronic rock of “Mirage”, the delicate title track with its peculiar drum phrasing giving it the right touch of energy, up to the splendid and as always ingenious conclusion with “The Last Milestone”, defined by some as a seven-minute long orchestral tail rather than a true song.

Leprous continue to not make mistakes, once again ready to dominate the year-end charts that will soon be compiled by who knows how many enthusiasts. Who knows if the guys are aware of this, but in the meantime, with humility, they carry on…