Although they're a smidge behind when it comes to their consistent, biannual release schedule, the unveiling of Leprous’s eighth full-length is nonetheless worth the wait for the band’s increasingly burgeoning and avid fanbase. Having continued to move further from the chug of their more overtly metallic beginnings, your favourite gambling app could have good odds on the Norwegians eschewing their heavier foundations altogether and releasing their own take on Kid A. However, while keyboards form the prime focus from the off on Melodies Of Atonement, angular riffs are onhand to lift the chorus of opener Silently Walking Alone.
Though it might seem a selfish and childish notion to want bands to hold onto their roots, particularly those who have heavy ones, Leprous are so delicate in nature that the heaviness offers an extra dimension that would be missed if removed. Einar Solberg is the most overwhelmingly identifiable part of the music, thanks to his extraordinary, enchanting set of pipes, and the band’s latest trio of albums – Malina, Pitfalls and Aphelion – have seen his keys increasingly come to the forefront, shifting the focus and dynamic further from his bandmates.
