Review Summary: Leprous are starting to move away from metal influences on their new album, but that doesn't make their sound less interesting.
Starting as a backing band for the black metal icon Ihsahn, Leprous have gradually managed to build a reputation of one of the most fresh and exciting progressive metal acts in recent years. The band has undergone stylistic change from a frantic slightly avant-garde style to a more melodic and atmospheric sound. This change did not make their music any less interesting though as they started putting heavier emphasis on the melodic vocals. So after the brilliant album The Congregation from 2 years ago, the band definitely had high expectations to live up to.
Leprous have a tradition of releasing a more accessible and musically less interesting track as the first single. "From the Flame" is not an exception, but despite being a very formulaic track it still delivers a strong memorable chorus. However, the second single "Stuck" is not nearly as good as it is lacking in either catchiness or complexity. The album version is extended with a cello outro by 2 minutes, but it still doesn't save the track from being rather underwhelming.
So these two tracks leave a decent enough impresion, but things quickly become more interesting. We quickly notice that the band's sound has gotten much softer. The strong opener "Bonneville" with its quiet introduction leading to a powerful build up, the ethereal title track and the soaring strings filled closer "The Last Milestone" contain very little distortion and simple drumming which on the other hand makes the vocals really stand out. Some people have been comparing the band's sound on this album to an Icelandic band Agent Fresco. Two years ago that band released an album with a very distinctive sound which some people referred to as a non-metal version of Leprous. So it's a bit ironic that Leprous seem to be taking inspiration from them now. This is also the first Leprous album with absolutely no harsh vocals. Even The last Haken album contains more, which is slightly amusing to say the least.
We also see the band continue with their math rock influences on "Captive", "Illuminate" and "Coma". These tracks are straightforward structure wise and relatively short, with each clocking at only around 4 minutes. However, their complex syncopated polyrhythms and chopped staccato riffs make up for it. "Leashes" also deserves a mention for being the catchiest track on the album and best utilisation of the verse-chorus formula. The vocals are really outstanding here.
The album's second half brings the two highlights, "Mirage" and "Weight of Disaster". Here we have two most progressive tracks which the fans of the band's old sound will enjoy the most. "Mirage" stands out for its chaotic outro and "Weight of Disaster" for its greatmid section. The two aforementioned soft tracks also provide a nice change of pace.
Leprous still rely on their two biggest strengths here. First there are the distinctive theatrical vocals of Einar Solberg. Even though they are less versatile this time around he still excels at both loud shouting and quit gentle singing. And second there is the intricate drumming of Baard Kolstad, who despite his young age is proving himself as one of the best drummers in the genre with his impressive grooves.
Overall, Malina is an album which similarly to new Steven Wilson is bound to somewhat divide the fanbase. It's easy to accuse Leprous of streamlining their sound here, since every track follows the basic verse-chorus formula, but the band managed to pull it off very well. And it's not like the band's music has ever been inaccessible to begin with. So this album really leaves us curious where the band goes next.
