But while The Congregation and, to some extent, 2013’s Coal, were somewhat focused around the dramatic rhythms, on Malina they play more of a supporting role. Leprous have become known from their unusual and often jarring rhythmic ideas, and these remain in abundance. Nowhere is this clearer than the superb two-punch of Stuck and From the Flame, where a sombre string motif at the end of the former jumps straight into the synthetic introduction of the latter. Not that the synths and digital sounds are missing at all, but Leprous have consciously balanced them more with acoustic sounds which bring a certain grounding, making the music that bit more relatable. There is a distinctly more organic feel here, reflected in some of the sounds and moods. But Leprous quickly moved away from this, unable to stay in one place too long. The band’s early work on what would become Malina sought initially to refine what they had done on The Congregation, and that shows in some stylistic similarities. But Solberg’s unique voice continues to carry weight, range and feeling.

Those desperately hoping for a return of the eclectic screeching exhibited particularly on 2009’s Tall Poppy Syndrome may be disappointed – the band has moved away from that style to something more considered and delicate (indeed, the term “metal” has not really applied for the past few albums). Even by Leprous standards, and even in the album’s heavier moments, the melodies and harmonies are beautifully melancholy.Īs fans will have come to expect, front and centre is the singular and powerful vocals of Einar Solberg. The music is sombre and heavy in tone (though not particularly in style). Never content with doing the same thing twice in a row, the follow-up to 2015’s The Congregation signals another shift and pushes the band in a somewhat more emotional, personal direction.

Malina is the new album from unique Norwegian proggers Leprous, one which sees their evolution from album to album continue.

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