InsideOut Music/Century Media releases Aphelion, the new album by Norwegian Alternative Rock/Metal band Leprous. They were formed in 2001 by Einar Solberg (vocals/synth) and Tor Oddmund Suhrke (guitar). After several demos with a somewhat unstable line-up, their first studio album, Tall Poppy Syndrome, emerged in 2009. This was followed by Bilateral (2011), Coal (2013), The Congregation (2015), Malina (2017), and Pitfalls (2019). They also released Live at Rockefeller Music Hall in 2016...

Track List: 'Running Low', 'Out of Here', 'Silhouette', 'All the Moments', 'Have You Ever?', 'The Silent Revelation', 'The Shadow Side', 'On Hold', 'Castaway Angels', and 'Nighttime Disguise'.

The opener begins with low-key synthesisers and high, almost straining vocals. It continues with the addition of bass and drums. The full band sound enters the arena with the arrival of the first chorus. In fact, there are far more vocals than music, which only takes over with a string sound later in the song. It does rather repeat itself. There is hardly a break in the lyrics during 'Out of Here', either. This one has a slightly heavier chorus, although I’m finding this rather light for liking. Nevertheless, fans of easy listening and light, commercial Progressive Rock will enjoy this, I’m sure. 'Silhouette' has more of an electronic score feel, more in line with the band’s Alternative or Avantgarde assessment. I’m not so sure about the Progressive Death Metal one! This track would work really well as an instrumental.

'All the Moments' has all the introductory ingredients of a 1970s Hard Rock song, but it soon loses its level of expectancy and excitement to the extent it turns dull, with the vocals being almost the only presence until the verse is over. The high-pitched slow singing moments of these songs destroy the energy, rather than creating any atmosphere. 'Have You Ever' has a nice warbling synthesiser sound but fails to go anywhere really specific. 'The Silent Revelation' has a nice Rock riff intro with off-beat drums and an approaching keyboard, but we are brought to a complete halt by the overused ‘heartfelt’ vocals. When the beat returns it is most welcome. Many of these songs end on a high when the entirety should contain more substance. Don’t get me wrong, this is more than competent music; it’s simply that my tastes are generally heavier with a much wider sound.

A similar structure is maintained with 'The Shadow Side': light and darkness, with a much thicker and more enjoyable melody to see us to its conclusion. The make-up of these songs is very similar in style, and could definitely do with some variety. It’s the spice of life, after all. 'On Hold' is the stand-out example of the band’s credentials. It has a slow build-up, but we don’t have to wait until the end denouement before we have the full band break-through. There is also a nice Electronica feel – including strings, and the vocals when let loose are much greater than they are in the more plaintive moments. 'Castaway Angels' is to all intents and purposes a Folk song with just the hit of a Rock element at the conclusion. 'Nighttime Disguise' has a heavier backing than most of these songs, but they all feel the need to reel it all in to showcase the overused quieter vocal moments. This is probably the most ‘Prog’matic  song in the repertoire.

4

Ty Power