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Leprous - Bilateral CD (album) cover




Tech/Extreme Prog Metal

3.91 | 473 ratings

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5 stars The Scream

Bilateral is a shining example in the most literal of terms. As an avid music listener and someone who writes for and about many new artists, I will regularly get questions from bands who have released a debut about how they can improve their sound. And for those that released 'good-to-decent' debuts, I can normally give good advice, and avoiding the sophomore slump is not such an issue. It's the bands who release stellar debuts that I have a hard time giving advice to, and they have a hard time releasing something past their debut.

Of all the great debuts that there have been, I really can't think of a single band who has topped their first album. I find that bands will either slowly build up to their best work from a weaker first couple of albums (see Porcupine Tree, Anathema, Opeth), or they will release a phenomenal debut that already has a distinctive sound, and fail to repeat it over and over again (see The Mars Volta, The Reign of Kindo, Dead Letter Circus, even Dream Theater if we forget about When Dream and Day Unite). Leprous, with Bilateral, are the only band in the entire world that, to my knowledge, have avoided this.

Of course, I guess I should point out that perhaps the reason Leprous topped Tall Poppy Syndrome is because they are not part of the latter group, but the former, because I'm ignoring Aeolia in my equation. And yeah, I guess the fact that Aeolia was a full-length demo and actually housed some pretty decent tracks means that it was their debut as opposed to Tall Poppy Syndrome, but still think the feat remains, because Tall Poppy Syndrome was treated as a debut. When Leprous exploded onto the prog metal scene, everyone just called it their debut and gave the same sort of praise that a debut of that calibre would gain. So the feat remains. When you release a breakthrough album that gets praise about its uniqueness and character, it can be extremely difficult to try and capture those same fans, whilst at the same time moving forward and creating a different album, while at the same time keeping the musicality and composition the same level.

The impossible truth is that Bilateral somehow sounds like the same Leprous that produced Tall Poppy Syndrome, yet it is also a completely different record. On first listen, you'll hear it and go "yeah, this sounds like Leprous", but after a while, and a bit of comparison, you realise how different it is to Tall Poppy Syndrome. The most obvious difference here is the absence of Einar Solberg's delicious and incredibly intricate piano. Those who know me know that piano is my favourite instrument by a good length, and I will always praise a band for its use, especially in the context of rock or metal music. So weird then, to think that with the amazing piano on Tall Poppy Syndrome, and its near complete absence on Bilateral, that I believe this album to be the superior. But to be honest, I didn't even notice. I didn't finish this album and go "oh damn, where are the awesome piano parts", and in fact I didn't even notice for a good time, until Coal was released and the piano returned. There are brief appearances here during "Acquired Taste" and "Painful Detour", but nothing compared to the lengthy solos or dominating rhythm parts on its predecessor. And the reason I didn't notice the piano here is simple ? because the melodies and performances from the other instruments are just too good.

The second track here, "Forced Entry" is undeniably Leprous' best song yet, and is generally one of the best prog metal epics I have ever heard, especially in the second half. The song begins with a rather angular and weird riff, but soon breaks into a fantastically catchy groove, pushing 4/4 time to its extreme limits until it's basically not recognisable. The song's chorus drives the energy even further up, which is possibly the reason this is such a brilliant piece of composition, because of the way the energy is kept alive for ten minutes. Within just four minutes, the band have strung together multiple melodies that are all stellar on their own, from the epic "rest in peace" to Einar's falsetto "help me survive", and yet together, these pieces make for something truly exceptional.

But as much as the first half creates a ton of energy and runs through a good number of melodies and motifs, it's the second half that really kills me. After a short break and a light keyboard part, the band strike an absolutely awesome 7/4 groove, possibly the best I have ever heard in that signature, and Einar pulls out some of the best vocal melodies he has done over the top. It really impresses me how all of these lines are in some variant of 7, changing each bar and keeping in line with the odd rhythm. Sounding this natural in an odd signature is something that really impresses me in prog metal, something that bands like Dream Theater have never managed. This part of the song has Einar panting out some rather strange and disturbing lyrics ? my friends and I once joked that "Forced Entry" was a rape analogy, but after we proceeded to read the lyrics, it really didn't seem like a distant possibility. The lyrics scream of obsession and addiction, and although some of the lines may be calm, in context they are quite disturbing, "Bring me home, shut the door, send me a glimpse of the future once more. Settle down, go to rest, sit back, relax?."




What the hell was that?


Is he making that with his mouth?

The sound that Einar Solberg makes at 8:43 in "Forced Entry" is the greatest noise ever made by a human. This is a fact.

I have yet to find someone who has not been impressed by The Scream. Even people with basically no knowledge of music and no enjoyment of metal were impressed, and I use it as pure evidence toward my case proving Einar Solberg as the best vocalist in the planet. It's so raw, yet so stunningly pitched. It's in a range that is neither falsetto nor standard, it both has pitch and has none. I managed to get it once, or at least I believed I did, by drinking a massive amount of coffee and blocking the back of my throat with phlegm to create a second diaphragm. It's like a falsetto note with masses of vibrato, done in a black metal scream fashion. Actually, it's unlike anything I have ever heard, and trying to explain with words is pointless. My point is that it is phenomenal, and the cherry on top of one of the best songs ever written. Or is it just?

I love the way that after The Scream, it just goes straight back in. Back to that fantastic bridge verse, back to that fantastic groove. The energy I mentioned before has quadrupled; the song is now so full of it that it has its own gravitational field. I love the way that Einar amps up the intensity in the second part though, somehow topping the first. He sings the awesome "knowing how long you've made me wait" line with such brilliant finesse, perfectly stressing the slide at the end, building up until?

It happens again.

And it's bigger.

Ok, ok, scratch that, this is the best one. The second scream. So often, when I was first getting into this record, I completely forgot about this part, because The Scream just seems like the logical climax, and this took me completely by surprise. I remember when I was very small, we used to draw graphs of the 'intensity' of a novel or short story, so we would know what a climax was and what a denouement was and all that stuff. If this song was drawn on one of those (very scientific) graphs, The Scream would bring it to the other side of the room, and The Second Scream would punch a hole in the wall and continue the scale out to halfway across the damn ocean. It's the cherry on top of another cake that is sitting on top of the previous cherry from the previous cake. By the time the opening riff comes flying in to finish the song, I'm out of breath. Hell, I'm out of breath just writing this, and I'm currently in a biology lecture.

But The Scream is not the only reason Bilateral tops its predecessor. Sure, Einar has found his ground as the best vocalist on the planet, which is concrete evidence of this album's achievement, but there is the not-so-concrete evidence of the band's songwriting stepping up as well. As I have said, I should prefer Tall Poppy Syndrome, given my boner for piano (especially piano-heavy metal music), but this album trumps it in nearly every way with its composition.

Take a track like "MB Indifferentia", and its counterpoint on the previous album, "Fate". It's clear these track are linked in their lack of harsh vocals, in their rock-centric musicianship, and jazz- influenced verses, as well as Einar's use of falsetto. "Fate" was one of the weaker songs on the debut, but still contained a blistering midsection, great solos, and an obviously stellar performance from Einar. But on MB Indifferentia, everything is turned up to 11. While the song is far more linear than Fate, and is missing the epic midsection, it makes up to it fully with the biggest climax you can imagine (if you pretend that Forced Entry didn't exist). Einar belts the wonderful melody he sung so solemnly earlier in full look-how-much-better-I-am chest voice range, reaching far above what us normal folk could ever dream of hitting without falsetto. It is more or less the best melody they have come up with ? solemn when it needs to be, yet epic and grandiose in the finale. And to top it all off, The Scream returns, for one last bow. I'll admit though, there's a minute or so in the first half that could have been cut, and the entire song could do with a bit of trimming, structure-wise, but everything is forgiven by the final minute.

But it's not just the two outstanding songs here that show improvement. Nearly half of the songs here are better than the best song on Tall Poppy Syndrome, with my next favourites being the closing duo of "Acquired Taste" and "Painful Detour". The former is the only track to have the piano of the debut throughout, and gains its high position from the absolutely beautiful chorus melody (especially in its final rendition), whereas the latter gains its praise from being just plain awesome. Calling back the previous album's "White", it holds great energy throughout the track, utilizing one of the catchiest choruses the band have created, and even features some nice doubling of sax and falsetto vocals in the bridge, but the track really reaches its stride with the blistering ending to the bridge, with Einar reprising The Scream once again over a wall off intense double kicks.

Although I really do not wish to bore everyone by going through every track on this record, I should give a mention to "Waste of Air", or more specifically, how it nearly ruins the album for me. It's not a bad song, but every time it comes on, especially following such a fantastic track as Mb Indifferentia, I let out a massive sigh of "oh not this bitch again", before settling down to tolerate it for five and a half minutes. I guess there's something kinda cool about a random section of blast beats, and the bridge has a very weird 17/16 vocal part that Einar dominates, but on the whole, the album would be better without it. The only other track that I'm not a huge fan of is the opening title track, but it does its job in introducing the album and building into Forced Entry, so it is forgiven. "Mediocrity Wins" is also an interesting track, although not necessarily bad or great. Its main point of interest is the 7/8 beat poem/rap that Einar does in the verses, which is just another vocal style to his repertoire, and it's especially impressive when he layers it with some of his semi-harsh screams on top.

Bilateral is the peak of Leprous' career, and it one of the best records in progressive metal, full stop. It still has flaws, and is certainly not perfect, but the combination of the ambitious and unique style with stellar songwriting with Einar's newfound ability to create such a fantastic noise make this a modern classic in every sense of the word. Despite this, I honestly would not recommend starting here with Leprous ? Tall Poppy Syndrome is a more accessible record, and I also believe everyone should hear Leprous' marvelous feat in topping that record, something that is still nearly unheard of in music (to me, at least).


Originally written for my Facebook page/blog:

Gallifrey | 5/5 |


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