Pitfalls - Leprous

Leprous has been on the field for almost 20 years and have continuously undergone a development, when it comes to their albums. Pitfalls is the sixth studio album in a row, and is yet again very different than the former. Unfortunately, there may not be looked back at Malina (2017), when we had not a reviewer, but if we look at the notification of the Congregation (2015), there is both the rhythmic, jazzy, hard rockin ' sound and the great vocals on both albums. The new on the Pitfalls however, is the more soft, toned-down and fairly urgent popped approach to a part of the numbers. Einar Solbergs voice given the space to unfold, perhaps a little too much...

A voice like an angel
One thing is certain, Einar Solbergs voice sounds like I imagine an angel's voice. Also, it is really fine, but I miss the raw variation that was previously the hallmark of the Leprous. Out of the total of nine tracks on the album (minus bonus tracks), is the numbers, such as "Lose Hope", "Distant Bells", "the Book, The Train" and "Foreigner" very soft, and portrays the Solbergs vocals beautifully, but where is the rest of the band? Especially the "Distant Bells" outright bored me, because the structure is very slow, and as you first think, something happens, come antiklimakset, and it is only quite at the end of the number that we are hitting a short climax. The dynamics and the skewed breaks and rhythms, as Leprous, in my opinion, are true masters in creating, is almost not here. Leprous are more along in to sound like a Einar Solberg solo project, and it is a minority of numbers, which can be best described as Leprous, as we know it. However, there are numbers, where the Leprous from the first tone sounds absolutely correct. "By My Throne" is a mix of groovy rhythm and a structure that makes the track exciting. At exactly this number, they also have the a my of something oriental over the vocal rhythm, which is really exciting. The most soleklare (and still incredibly innovative) Leprous-number you find on the plate, is "The Sky Is Red" with a more penetrating raw Solberg-vocals and a prominent band in a great interaction and a delicious guitar solo – where I feel that it all comes to his right in a higher unity. It gets at no time boring, and the rhythm and the breaks are just where you expect that they would, when it comes from the Leprous.

Innovation is not only bad
It is not supposed to, I will come here and say that Leprous is going to be, where they constantly have been. From both the "Tall Poppy Syndrome" and "Coal", there has been a insane development in the band and not least in the Solbergs vocals. In spite of the great change in their expression, they manage still to vedholde their "Leprous sound". There are these rather unique items, such as Leprous uses, f.ex. their use of breaks, the Solbergs "crack" in the voice and phrases as well as the flow in a number, which cries Leprous on the Pitfalls. The first single "Below" was in my opinion also the right choice from the plate. It shows something new, but stays true to the Leprous band: The drawers are not connoisseurs, but it has the possibility to draw new to – and the same is actually valid for but then "Alleviate". If you listen to an otherwise very quiet and a classic tune like "To The Bottom", it also clearly hear that it is Leprous, who have made it.

Really good, but a bit disappointing
I have followed with Leprous most of their career, and I was a bit disappointed when I heard the Pitfalls the first time. The plate is in no way bad, and the Leprous by damn, what they are doing, but the more classic (and may I venture to call it beautiful) approach to the music lacks the raw, the ugly and the gritty in the sound offset by the Solbergs incredibly controlled vocals, which is precisely what makes the Leprous to the wildest band. I believe, however, that because the Leprous has not lost himself in their soft album – it is refreshing to see that they can get away with it – so creeps up on the seven skulls.


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