Let’s not fool ourselves: Leprous is one of the biggest acts in Metal today. They might not be the heaviest band out there, but ever since Tall Poppy Syndrome (still my favorite), the group has transformed from a Prog Death Metal band to a Djent act, and now to whatever they’re doing at this point. To be honest, I haven’t been particularly interested in Leprous since The Congregation, but now that Melodies of Atonement has arrived, I’m willing to give them a second—or even third—chance.
Let’s start with the obvious: Melodies of Atonement isn’t a Metal album. I’m even hesitant to call it a Rock album. It almost feels more like electronic music with a heavier approach. As is typical of Leprous‘s recent albums, a lot of the dynamics and emotional weight are carried by Solberg. His operatic and sensitive delivery still provides the band with all the power it needs, while the rest of the musicians play a much more secondary role. Don’t expect complex technical displays here—Melodies of Atonement is a subtle effort that slowly plays with textures and details.
Silence is one of the key elements in this album. “What are you talking about, Catto? Music is noise!” Well, yes and no. Much of the dark and sorrowful mood here is moderated by the pauses, spaces, and silences that Leprous incorporates, especially at the start of nearly every track. It gives the album a spooky vibe that still makes me think this is Metal in spirit, at least. As you may have noticed, I can’t contain my excitement about this album (sarcasm mode on!), which is why I’m now diving into the questionable choices made here!
Let me be clear: Melodies of Atonement has some killer tracks like “Atonement,” “Limbo,” and “Self-Satisfied Lullaby,” but it’s just more of what Leprous has become known for—proggy, melancholic bar music that lingers too long in one place. It feels too comfortable and too slow for the average Metalhead. However, beyond how disconnected the album makes me feel, my real issue with Melodies of Atonement is how predictable it gets in terms of track development. If you liked the last two albums, then rest assured you’re getting what you paid for. But for those of us who miss the more adventurous Leprous, we’re left waiting once again.
I’ve come to terms with the fact that Leprous will never make another Bilateral, but that doesn’t mean I can’t hope for something that offers a bit more excitement (I can’t believe I want fun in an album—how desperate have I become?). There just aren’t enough highlights here to make me want to return. It’s not a terrible album, nor is it an excellent one. It offers interesting sound exploration, for sure, but consider Melodies of Atonement more of a soothing pill than an invigorating one—perhaps suitable for a sad, slow rainy day. As for whether I’ll return to it again, only time will tell.
Label: Inside Out Music
Release date: 30 August, 2024
Website: https://www.facebook.com/leprousband
Country: Norway
Score: A sad lullaby, or 2.5-3.0/5.0! I need more time to decide…
Metal Eclipse Reviews 