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LEPROUS

Tech/Extreme Prog Metal • Norway


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Leprous biography
Founded in Notodden, Norway in 2001

LEPROUS are a Tech/Extreme band founded by Einar SOLBERG (synth,vocals) and Tor ODDMUND SUHRKE (guitar,vocals), the group went through numerous line-up shuffles before settling on the current members Halvor STRAND (bass), Øystein LANDSVERK (guitar,backing vocals)and Tobias ØRNES ANDERSEN (drums).

The members of LEPROUS are young, but despite their youth this group packs some impressive musical pedigrees. SOLBERG played live for EMPEROR and SUHRKE and STRAND were members of IHSAHN'S touring band.

In 2004 LEPROUS self-released their 3 song EP "Silent Waters" and in 2006 self-released their full-length demo album "Aeolia". The band signed to Sensory Records and released their sophomore effort "Tall Poppy Syndrome" in 2009. The band later were signed by Inside Out Music and released "Bilateral" in 2011 and "Coal" in 2013.

LEPROUS' music is hard to classify and pin down to one sub-genre. Their music is firmly rooted in prog metal, crafting songs around odd structures, predominantly clean vocals, abrupt time changes, complex rhythms and dexterous musicianship all punctuated by contrasting heavier sections but also punctuated with growling vocals and black metal shrieks. Taking elements from OPETH, DREAM THEATER, WINDS, IHSAHN, CYNIC and even PORCUPINE TREE and SONATA ARCTICA, LEPROUS assembles these influences in an odd yet undeniably appealing manner.

A very diverse band and highly recommended to ALL prog metal fans!

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MalinaMalina
Century Media 2017
$11.98
$11.97 (used)
BilateralBilateral
Inside Out Music 2012
$11.86
$10.69 (used)
The CongregationThe Congregation
Inside Out Music 2015
$10.49
$7.34 (used)
Live At Rockefeller Music HallLive At Rockefeller Music Hall
Inside Out Music 2016
$16.40
$16.29 (used)
CoalCoal
Insideout Music 2013
$12.76
$16.64 (used)
Live at Rockefeller Music HallLive at Rockefeller Music Hall
Century Media Records 2016
$20.09
$20.08 (used)
BilateralBilateral
Insideout Music 2017
$22.31
$26.66 (used)
Tall Poppy SyndromeTall Poppy Syndrome
THE LASER'S EDGE 2017
$760.40 (used)
Coal by Leprous (2013-05-28)Coal by Leprous (2013-05-28)
Inside Out
$75.87
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LEPROUS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

LEPROUS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.72 | 96 ratings
Aeolia
2006
4.15 | 338 ratings
Tall Poppy Syndrome
2009
3.89 | 448 ratings
Bilateral
2011
3.96 | 375 ratings
Coal
2013
4.03 | 459 ratings
The Congregation
2015
4.01 | 162 ratings
Malina
2017

LEPROUS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.20 | 15 ratings
Live at Rockefeller Music Hall
2016

LEPROUS Videos (DVD, Blu-ray, VHS etc)

4.10 | 23 ratings
Live At Rockefeller Music Hall
2016

LEPROUS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

LEPROUS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.80 | 5 ratings
Silent Waters
2004
4.22 | 18 ratings
{From the Flame}
2017

LEPROUS Reviews


Showing last 10 reviews only
 Coal by LEPROUS album cover Studio Album, 2013
3.96 | 375 ratings

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Coal
Leprous Tech/Extreme Prog Metal

Review by The Crow
Prog Reviewer

3 stars Sadly, after having heard this album thoroughly, my impressions are very similar to the feelings I had when I saw them live together with Devin Townsend in Madrid a few years ago!

I get tired of their music after a pair of songs... And I don't know why! Because they practice a style of prog metal that I usually love. An stimulating mix between dark riffs, strong drums and an adventurous (although not always good accomplished) songwriting very influenced by bands like Tool, Opeth, Devin Townsend and even more conventional acts like Dream Theater.

Maybe are the annoying operatic vocals the fact that makes me tired of their music? Maybe the monotonous and repetitive instrumental parts which lacks true progressive charm in songs like Foe or Echo?

So despite Coal has a pair of truly great moments, it's not catchy enough for me and I don't see me coming back to this album too often. And that's a pity, because I see some greatness in this band that sadly can't not be completely heard in this record.

Best Tracks: Chronic (the most varied and best instrumental section of the album), The Cloak (a very welcomed break in the repetitiveness of the album in the form of a more mellow track) and The Valley (very good melodies and a fine chorus)

Conclusion: Coal is a good prog metal album, but it lacks something truly brilliant to be considered an excellent addition to any prog music collection. I get tired of the repetitive operatic vocals, the songwriting is not always catchy and compelling (Coal, Saturate Me) and the instrumental parts lack true magic and progressive power to be considered great.

Nevertheless, I will hear more Leprous albums because I see a truly great potential in this band that sadly in Coal is not fully materialized.

My rating: ***

 Malina by LEPROUS album cover Studio Album, 2017
4.01 | 162 ratings

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Malina
Leprous Tech/Extreme Prog Metal

Review by praj912

5 stars I knew they'd do it. Masterpiece. It took time, but this is finally the pinnacle. Leprous are the new prog-metal benchmark. After seeing them live I can say they match up performance-wise also. This album tests your ears and mind. Dramatic, soaring, soul- moving, guttural....and there's still the 80s sugar pop thing that I hear. There aren't many bands at this level doing things that are new, properly new. I love a syncopated polyrhythm like the rest, and the album is full of great percussion. But, without the 'song', this is all a waste, and Leprous have hit the mark with the SONGS on this album. I hope they can repeat it! I want more!
 Tall Poppy Syndrome by LEPROUS album cover Studio Album, 2009
4.15 | 338 ratings

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Tall Poppy Syndrome
Leprous Tech/Extreme Prog Metal

Review by sgtpepper

5 stars I consider this to be the best Leprous album as of now (10/2018). This album expands on what the band did on their first album, sounds fresh, innovative and although it does showcase a few influences such as Dream Theater, Opeth, classical music, acoustic music, this is all blended and stirred to create an original music piece of music. If Opeth revolutionized Extreme Metal by introducing death and acoustic elements, Agalloch black elements, Leprous contributed to their evolution of Extreme Metal 2.0 by extreme versatile operratic, hardcore, black and normal vocals, various metal elements and daring compositioms.

The album is digestable for many metal music circles but also consummable by most progressive rock fans. Perfect vocal harmonies, energetic song parts and more traditionally sounding keyboards will certainly appeal to many of us. Tempo changes and unusual song structures keep attention throughout the entire album but are not too frequent so one keeps trace of which track is actually played.

I don't have any standout tracks to recommend since all are very much recommended. Fans of black metal might like "Not even a name" while "Fate" might be enjoyed by listeners who want accessible, melodic and light music ;-) "Tall Poppy Syndrome" bears little similarity to Opeth around the "Watershed" album with its dark riffs.

This album was a breathrough for the album and well deserved so since Norway has a foot firmly rooted in experimental metal since the 90's.

 Malina by LEPROUS album cover Studio Album, 2017
4.01 | 162 ratings

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Malina
Leprous Tech/Extreme Prog Metal

Review by Zitro
Prog Reviewer

5 stars The first [and hopefully not last] masterpiece from Leprous

Leprous with Malina have drastically changed their sound - they have introduced symphonic rock influences, added a violinist, and traded most of their heavy metal for either cinematic music and some mainstream rock & pop. The band fortunately retained and appeared to expand on their most distinct qualities, namely the complex syncopated rhythmic foundations, the soaring vocal melodies, and synthesizer usage. The colorful production paint vivid soundscapes and also bring accessibility to the compositions. In some ways, this album can be described as the non-metal twin of 'Bilateral', carrying variety, a sense of spontaneous fun with experimentation. What really elevates this album may be the emotion carried by the vocals and instrumentation during key moments.

The first song lays the foundation of the album and shows an increased emphasis on minimalistic ambient or jazzy passages with heaviness (not metal) placed at the right moments. 'Stuck' and 'From the Flame' are great compromises between the genres of pop and progressive rock - both have radio-worthy hooks of the highest caliber and in 4/4 but also include less traditional passages like the nintendo-like synthesizer + violin motif on 'Stuck' or the rhythmic complexity in 'From the Flame'.

Both 'Captive' and 'Illuminate' are based on complex staccato riffs with the former being hard-rock in nature and the latter more electronic and arguably compositionally superior and honestly quite addictive to put on repeat. Both carry strong vocal melodies, great usage of synthesizers, and moodier softer passages.

What is exciting is that despite these excellent songs, there is better to come. 'Leashes' unleashes exhilarating anthemic melodies. 'Mirage' is a multifaceted masterful progressive rock composition, replete with odd time signatures, synthesizer, contrasting half-time metal riffs in bass guitar, some amazing vocal performances, and a very heavy and fast-paced finale.

Even better is the title track 'Malina' - a hypnotic keyboard loop and restrained classical music instrumentation. This is very cinematic and stir heavy emotions from all its elements, matching the hopelessness of the lyrics. The explosion in emotion when the staccato guitars and drums enter the scene is soul crushing, yet the repetition of the main theme on the last minutes are equally moving. It is frankly put, one of the best depictions of depression put to music I have heard. 'The Last Milestone' comes close to this level, limiting the music to just a string ensemble and opera-like vocal acrobatics with a deeply melancholic tone, adding another excellent depiction of depression in music.

Other unmentioned tracks include the neurotic fast-paced syncopated rhythms of 'Coma' and the heavier, bass-driven epic 'Weight of Disaster' that has a sound closer to the previous album..

4.5 to 5 star songs: *Illuminations*,*Leashes*,*Mirage*,*Malina*,*The Last Milestone*, Bonneville, Stuck, From the Flame, Captive 4 star songs: Coma, The Weight of Disaster 3.5 and below star songs: None

 The Congregation by LEPROUS album cover Studio Album, 2015
4.03 | 459 ratings

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The Congregation
Leprous Tech/Extreme Prog Metal

Review by Zitro
Prog Reviewer

4 stars 4 1/3 star album

Immaculate, Strict, Calculated Songwriting with Consistently Monochromatic Sound

With 'Congregation' it appears clear Leprous distanced itself from several characteristics of progressive rock. The album is less spontaneous, no songs exceed 8 minutes, and there is a lost sense of musical exploration - focusing instead on maintaining a grey-scale mood throughout and blending metal influences with alternative rock. The emphasis is on vocal hooks and a relatively frequent usage of rhythmically complex riffs. This approach makes this album more accessible than earlier albums as a listener does not have to process dramatically different styles of music. On the other hand, this approach is not preferred when an album is 11-songs long - the songs start blending in and become harder to tell apart. This is the one album where I feel the sum of the parts works better than the whole and no particular song order is necessary. If you enjoy a song or two in youtube/spotify from this album, it is very likely you will enjoy nearly all others.

Also note - there are 2 songs that have an entire section sang with harsh vocals. The ratio of harsh to clean vocals continue decreasing.

Describing songs by track would be redundant given the many similarities among them. Expect unorthodox rhythmic guitars in many of these songs. Expect computerized keyboards to make an occasional presence during both upbeat and haunting sections alike - these synthesizers continue fitting in unusually well and I welcome their presence. Expect the drumming to be rawer and more tribal in nature. Definitively expect even catchier earworms compared to previous albums as they are not any more an element to their music - they songs are written around them. If there is one song that sounds noticeably different than the rest, it is the very effective minimalistic closing track 'Lower'.

What kind of highlights should you expect? 'The Price' has highly intricate soft musicianship preceding the insanely catchy alternative rock choruses. 'Third Law' showcases high-pitch metal singing. 'Rewind' expertly blends in desperately fast bass, drums, and vocals with a hauntingly slow synthesizer theme, then builds and builds until it explores a death metal section that is suitable heavy for the agony displayed by the harsh vocals. 'The Flood' uses a 2-note riff (synth or distorted guitar) to build up anticipation towards much more interesting musical passages. It is not a surprise this is a fan favorite song given the strength of the vocal melodies and especially that mesmerizing and triumphant climax. Speaking of 'Triumphant', the tribal rhythm, memorable guitar and vocal themes work together to the closest they might ever come to a sing along tune. 'Red' makes the best usage of computerized synths, mind-bogglingly complex rhythmic foundations, and a hypnotic feel. It is easily my favorite track in this album and among my favorite songs of the genre. 'Slave' is a bleak song and recalls the nightmareish qualities of their previous album 'Coal', but retaining the stronger melody writing of this album. Harsh vocals make a presence, but are brief. Moon's varied percussion works really well at setting the mood, particularly the masterful second half utilizing the buildup compositional elements of their previous album with expertise. The soundscapes continue being larger in scope with 'Down' though may not be as climatic to the album as a song like 'Rewind' or 'The Flood' is. The last song is a minimalistic ending.

It is difficult for me to determine whether the fairly monotonous structure and mood of the album is a strength or a weakness, or both. What the band has accomplished is a consistent set of high quality tracks that get burned into my memory.

4.5 to 5 star songs: *Red*, Triumphant, Moon, The Flood, Rewind 3.5 to 4 star songs: The Price, Third Law, Slave, Down, Lower 2.5 to 3 star songs: Within the Fence

 Coal by LEPROUS album cover Studio Album, 2013
3.96 | 375 ratings

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Coal
Leprous Tech/Extreme Prog Metal

Review by Zitro
Prog Reviewer

4 stars Syncopated riffs and soaring clean vocals make a bigger presence in excellent metal album

Coal continues the incredible musicianship and complex rhythms from previous albums, but the songwriting is less unpredictable. The album concentrates on developing single ideas over extended periods of time once a mood has been established. The sound overall is darker and more atmospheric, like a vivid nightmare at times. The album also better showcases the strength of the vocalist. The death metal harsh vocals are still there, but limited to fewer songs as opposed to scattered across an album. They still don't work for me, especially when they come from a guest vocalist, but the ratio of harsh to clean vocals continue decreasing album after album.

'Foe' is an interesting introduction to the album and indicates a change in sound. It revolves around a simple off-kilter riff in 7/8 during its second half and highlights the range of the vocalist given the more retrained instrumentation that backs him up. The second half is an extended acapella section with minimalistic instrumentation - very atmospheric and haunting.

'Chronic' is a more traditional track and therefore among the least interesting in the album. The usage of frequent explosive short bursts of very heavy metal with harsh vocals at times distract the flow of the song as I negatively anticipate them when they are not there. This is unfortunate, as the more extended metal passages are remarkable.

'Coal' is also a more traditional song (with its intro heavily reminiscent of 'Forced Entry' from the previous album) but benefits from greater coherence and having some of the heavier moments attempted with more pleasing 'melodic screaming' instead of growls. Not the most melodic song, but very entertaining.

After the title track ends with a haunting reprise of its main theme, the next several songs is where I feel Leprous found their sound, polished further in future albums. These songs also have no harsh vocals whatsoever for a 25+ minute stretch which is a welcome break from the heaviness of 'Chronic' and 'Coal'. These songs generally find a particular sound and flesh it out as much as possible over several minutes.

'The Cloak' is a ballad with restrained but interesting instrumentation that makes best use of the vocalist. He is consistently melodic throughout and does impressive falsetto performances. His performance invokes crushing depression. The song gradually introduces metal elements and the unmistakable syncopated riffs associated with the band. It is one of the most memorable songs in their catalog and a perfect choice for a single.

'The Valley' is a clear highlight of not only this album, but the entire career of the band. The song starts mid-tempo with computerized bassy synthesizers that will become more prominent in later albums. The first hook has a tremendous vocal melody and insane fun syncopated rhythms playing against traditional time signatures. The middle section is an unforgettable 3 1/2 minute build-up. It begins with a chilling synthesizer, static 17/16 fast paced drumming, extremely complex syncopated rhythms in bass and guitar, adds a haunting wordless vocal melody, then gives you an anticipation of doom as it slowly builds the tension solely via its syncopated riff over the next 3 minutes. Given the strength of the riff, I do not mind the repetitive nature of this passage. The buildup transitions seamlessly into a very epic brief passage and then a reprise of the intro with a heavier emphasis on the computerized synths. The song ends with the tremendous vocal melody of earlier.

'Salt' is a calmer piece and less complex, focusing on ethereal vocalizations. The song is brief, but very enjoyable throughout. 'Echo' has a dramatic slow tone to it and takes its time introducing and developing its themes. The usage of strange, but haunting synthesizers continue being a unique feature of the band and the song's wordless vocal harmonies dominate the song.

Unfortunately 'Contaminate Me' harkens back to the death metal era of the band and to make matters worse, a guest vocalist performs the harsh vocals. This guest vocalist at times sounds like a teenager attempting to sound 'evil' but the raspy style sounds corny and in no way matches the instrumental heavy sound. When the instrumentation dials down into an slow ambient atmospheric section, the guest vocalist unfortunately growls throughout it, which is a shame as the instrumentation is so good here. While the growls are better performed in the second half, I wish this section was purely instrumental.

4.5 to 5 star songs: *The Valley*, *The Cloak*, Echo 3.5 to 4 star songs: Foe, Salt, Coal 2.5 to 3 star songs: Chronic, Contaminate Me

 Bilateral by LEPROUS album cover Studio Album, 2011
3.89 | 448 ratings

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Bilateral
Leprous Tech/Extreme Prog Metal

Review by Zitro
Prog Reviewer

4 stars Varied Entertaining Metal Album but Beware of Harsh Vocals

Bilateral can be described as very technical instrumentation with complex rhythms yet balanced out by memorable vocal melodies from their excellent vocalist. The musical influences are more noticeable compared to later releases, reminding listeners of various progressive metal bands at times, yet managing to have an identity of its own. Bilateral is experimental, very unpredictable, and surprisingly well-structured. The songs have a personality of their own and are thus very easy to tell apart, with clearly distinct musical components and recognizable vocal melodies. It caught me by surprise however that harsh vocals (growls) are scattered throughout the album and are generally not very pleasing to the ear. Given that the singer is capable of singing during heavy sections with a rougher voice, I do not think these harsh vocals are necessary at all and lessens the impact of the album for I predict many listeners.

The title track is a great introduction. Upbeat hard rock with very catchy vocal melodies and shifting time signatures. It has an excellent instrumental break led by synthesizers and syncopated guitar riffs. The dynamic 10-minute 'Forced Entry' is a highlight of the album. It begins with a strange synthesizer riff backed by heavy metal, then introduces four distinct vocal themes in just about 1 minute. The song continues introducing new themes and recalling earlier musical passages without losing its coherence and has a fitting epic finale.

'Restless' has a jazzy foundation and is overall a more accessible brief composition with recognizable vocal themes meant to be earworms. The aforementioned growls of Restless are out of place (the music is simply not heavy enough to need them) and sound a bit comical to me. The growls become most noticeable in 'Thorn' and 'Waste of Air', which is a shame as both have very unique instrumental ideas in them, particularly the trumpet usage in Thorn and the industrial synthesizer-driven middle section of 'Waste of Air' that has to be heard to be believed. The growls are particularly irritating in 'Thorn' as they appear to be done by another vocalist.

As a contrast 'Mb Indifferentia' is a very atmospheric ballad with a psychedelic feel and serene vocals that slowly builds into a massive ending with great vocal harmonies.

'Mediocrity Wins' is a very different song led by slap bass and vocal chants reminiscent of rap music in its verses, contrasted by soaring vocal melodies associated with its choruses. The verses turn into death metal (with harsh vocals) briefly halfway through the song but fortunately last less than 20 seconds. 'Cryptogenic Desires' has a quirky metal sound at times and is very dynamic for its short length. Growls are also present here but they seem to fit in better.

'Acquired Taste' has a more muted sound at times, continues the odd time signatures but alternates them with pretty basic 4/4 guitar passages and catchy melodies. Polyrhythms and odd time signatures make a glorious comeback in its excellent last minute.

'Painful Detour' continues the varied odd time signature metal riffing and comes closer to the unpredictable sound of 'Forced Entry'. There is a haunting extended section with ambient wordless vocalizations, juxtaposed against a gradually building metal sound. This is one of the strongest sections in the album.

The inventiveness of the song structures, usage of keyboards, highly memorable and pleasing vocal melodies, and the consistently incredible musicianship make this an attractive album for a listener that wants to break away from the monotony of mainstream heavy music. As previously mentioned, be aware of the growls - they frequently do not match the instrumentation and may work against the enjoyment of the album, even if less than 10% of the album is associated with them.

4.5 to 5-star songs: *Forced Entry*, Bilateral, Mb Indiferrentia, Acquired Taste 3.5 star songs to 4 star songs: Painful Detour, Mediocricy Wins, Restless 2.5 to 3 star songs: Waste of Air, Cryptogenic Desires Songs I dislike: Thorn

 Malina by LEPROUS album cover Studio Album, 2017
4.01 | 162 ratings

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Malina
Leprous Tech/Extreme Prog Metal

Review by Xavier Petrick

5 stars Leprous was just another band. A band like many others. Year after year, their albums came out. "Tall Poppy Syndrome", "Bilateral", "Coal", and "The Congregation". All enjoyable albums. All solid albums. Leprous proved itself (over and over again) to be a talented and competent band. But then came "Malina" in the August of 2017. And it is in their album "Malina" that Leprous presents itself as a band that has mastered their craft. Though they certainly sound different, having exchanged their Prog-Metal roots for a more traditional Prog-Rock sound, they come off as one of Prog's greatest modern groups next to the likes of Porcupine Tree and Haken. Some have claimed Leprous lost the power and urgency of their previous records, yet I disagree. It is my humble opinion that it is this album that fully captures the power and emotional appeal of Einar Solberg's voice and the musicianship of the rest of the band.

"Malina" finds the band toning down on some of its indulgent and complex compositions in exchange for stronger, catchier, and occasionally, simpler songs. Yet in their control, they have reached their peak in songwriting. Soaring choruses and captivating polyrhythms are strewn throughout this album that easily flows from one song to the next, cohesive in its sound, songwriting, and design. In "Malina" Einar Solberg displays his voice as possibly the greatest in all of Progressive-Rock's history. In the extreme moments, he makes you want to scream along with him while it is effortless to become lost in his quiet crooning. One particular element that elevates this album above their previous released works is its magnificent harmonies. They are flawlessly tight and emotionally intense, displaying a sense of importance to this their newest record.

In conclusion, "Malina" is not only Leprous' best and most mature record, it is one of Prog's towering masterpieces that is developing and foraging into the future of Progressive-Rock.

 Malina by LEPROUS album cover Studio Album, 2017
4.01 | 162 ratings

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Malina
Leprous Tech/Extreme Prog Metal

Review by KromatiK

4 stars Leprous are an ever-changing band. I was first introduced to them through the crazy wonderful Bilateral and since them I've followed their work. Before Malina was released I was scared, the first two singles released made me realize they had suffer a mutation yet again, but this time in a direction I didn't like as much. When the album was released I started listening to it and Bonneville comes up, sweet, soft, delicate, sad, I was loving it and then the track gains power, the simple yet heavy syncopated rhythms take over, Baard's drumming goes maniacal and I don't have words to describe how much that track hit me. The album has a perfect opener and a perfect ending with the emotional The Last Milestone. The middle of the album isn't has good has the two extremes, but still pretty amazing, as usual.

Instrumentally the album mixes uplifting tracks with melancholic ones, always with very interesting rhythmic patterns. The drums are amazing, the guitar riffs as well (although sound-wise I didn't find it as pleasing as The Congregation), the bass is discreet yet very important throughout the album. But the thing that catches everyone's ears is Einar's majestic voice. I believe he is currently the best vocalist in prog, his technique is absurd, his range as well but the winning point for me is how easily he can go from soft, angel-like, to powerful, operatic, intense.

Overall, Malina is an amazing album, another work of art in Leprous discography. It has some flaws, some inconsistencies, but no one can point their finger and say they didn't do a great job. They did, they always do, sometimes the path they follow might just not be to your liking!

 The Congregation by LEPROUS album cover Studio Album, 2015
4.03 | 459 ratings

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The Congregation
Leprous Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

4 stars On The Congregation, Leprous shift their musical style a little closer to the border between progressive metal and progressive rock; aggression, volume, and heavy riffs are played down in importance next to the melodic aspects of the music, as well as the keyboard work of synth-wiz and vocalist Einar Solberg. Here and there the approach has been compared to Muse, which sort of makes sense - in particular, to me it brings to mind Muse's Origin of Symmetry, since both albums have a very similar sense of unfettered exuberance, with both bands shifting away from the musical style of previous releases to follow a new sound with unwavering dedication, heedless of how overblown things may become.

The end result is a substantially more accessible Leprous release than any other I've heard, but whilst it's a good entry point to their music, it's also a solid development of what's come before which will have something new to offer seasoned fans too.

Thanks to TheProgtologist for the artist addition. and to Quinino for the last updates

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