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With eyes on all of the talent that has been emerging from the North American progressive metal scene, some of the most deserving international artists are, sadly, easily overlooked. A prime example comes in the form of one of my favourite bands, Leprous. Since their first full length, ‘Tall Poppy Syndrome’ in 2009 (and even the demos that came before), the Norwegians have come a long way, through both musical evolution, and multiple lineup changes over the years. Their sound has become more polished and refined with each release, with new territory explored, and one of the most killer live shows around.

‘Malina’ is very much a continuation of the previous album, ‘The Congregation’, but with a huge push in a more serious direction. While the latter possessed several glorious songs that I still play on repeat, ‘Malina’ is overall a more cohesive piece that contains the nutty attitude from whence they came, while launching the listener into somewhat deeper emotions than any prior Leprous album has achieved – like taking the soul from “The Flood”, and mixing it with the raw sadness of “Acquired Taste”.

“Bonneville” is a great introduction to the album, sparking curiosity with a light groove between the drums, bass and vocals, that builds beautifully into an ominous foreshadowing of what is to come. The following track, “Stuck”, initially worried me with it’s potentially pop-punk opening riff; as the song progressed, however, it quickly became one of the most catchy and memorable parts of ‘Malina’. The epic build toward the end begs for drummer Baard Kolstad to let loose and destroy the kit, but leads perfectly into the album’s single, “From The Flame”. This song definitely grew on me, although I still prefer the verses to the chorus, especially in terms of the drum and guitar rhythms.

Sounding stylistically similar to material off of ‘Tall Poppy Syndrome’ or ‘Bilateral’, I was pleasantly surprised by “Captive”, standing out immediately as a highlight of the album. The use of vocal layers, and the way the breakdown-esque quarter note crashes compliment the guitar rhythm at the end, adds to the exciting pace and flow of the track. Keeping with the more upbeat theme, “Illuminate” jumped to the top of my favourites list, albeit several listens in. Kolstad’s tight single kick following the keys, combined with his fantastic ghost notes and gradual hi hat, provides the perfect backbone to the entire track. The shuffle beat in the chorus leads into a second verse that incorporates what sounds like ghosting on the rim of his snare, followed by four bars of hi hat triplets during the second time through the next chorus – all while the guitars echo the opening keyboard syncopation, with Einar Solberg’s triumphant vocal melodies hovering over top.

A break then settles in with “Leashes”, bringing back some of that morose emotion, but the tone once again shifts in “Mirage”. Another fun and catchy tempo, with a wonderfully deep, almost lawn mower register bass, and a chorus vocal melody reminiscent of a broadway musical. The title track, “Malina”, is a softer piece, full of thundering toms and woeful strings, while “Coma” dances in via a very upbeat keyboard, backed up by the steady drums. Resembling the intensity of ‘Coal’, and surprisingly in common time, this is another track that allows Kolstad to open up on the drums, with all of the guitars keeping the pace forceful and steady. The final two tracks wind down the album well; “The Weight of Disaster” contains a great building groove, with the last two minutes of guitar echoing the accented bass line at the beginning. Conversely, clocking in at seven and a half minutes, “The Last Milestone” is made up purely of a string section that is both lovely and haunting, layered beneath equally mournful yet operatic vocals. I would love to hear this piece as the soundtrack to the final scene of Romeo and Juliet, as it brings a vision of sorrow to mind, while also shining a glimmer of hope through Solberg’s gorgeous voice. The perfect ending to ‘Malina’.

In comparison to previous Leprous albums, ‘Malina’ is more vocally driven, both in writing and audio levels. The use of strings adds another dimension to the sound, as well as the introduction of second guitarist Robin Ognedal. Similar to their previous release, this album is more polished than older material, progressing away from harsh and chaotic aspects and leaning more toward catchy and rhapsodic. While there are fewer time signature changes, the band has remained faithful to their staccato rhythms and impactful melodies, although Einar Solberg has almost completely deviated away from his classic straining screams, in favour of a more soulful approach (that I admittedly cannot wait to see live). And while there are plenty of moments that showcase drummer Kolstad, there are also a few simple breakdown beats that could be so much more impressive if he threw in even half of the talent that he possesses. However, all in all, ‘Malina’ is yet another beautiful Leprous album to add to the collection, delivering a different flavour to an already creatively magnificent, inimitable sound.