LEPROUS - Coal

The “orchestra” of the Norwegian king Ihsahn has graced the firmament with a new studio material, felt, worked and analysed on all sides. The evolution of Leprous is amazing, considering the change of direction they had from their debut Tall Poppy Syndrome until now. From modern and tame progressive on the first record, with Bilateral they have moved to a much more dynamic one in melody, and now, with Coal, they have moved into the experimental side. On this new album, dynamic parts work as advertised and alternate with calm or atmospheric passages.

Compared to Bilateral, guitars are less significant; the new album focuses on rhythm to create a gigantic contrast between the instrumental line and voice. The final effect of this contrast is worthy of applause, and Einar Solberg’s voice goes through increasingly penetrating inflexions, abandoning some of his screaming.

The bass combines with the keyboards and Coal manages to give the feeling of being stranded in a cave (or a mine, as in the video for The Cloak) and exploring it through many nostalgic traps. As they have accustomed us, Leprous continue to build long songs, and the highlight of the album comes with the fifth one, The Valley, and with its chorus Leprous attach that kind of hook that is typical for masterworks usually encountered with Northern musicians.

Ihsahn is also present on this album, as he did on Bilateral, completing the overall vibe with the missing ingredient. Contaminate Me is most complex song on Coal, and in additionto the juxtaposition of the two phenomenal voices, instrumental exposition expands to the size of the world’s greatest walls.

The new album, Coal, is meant to ensure people that Leprous are aliens due to how they managed to compact their talent, and they are some of the best musicians involved in the musical currents of the metal area.

Gina S. Nota: 9