When Leprous's 2015 album, The Congregation, first dropped, I wasn't completely sold. Honestly, the minimalism initially annoyed me and I was quick to dismiss the album as being plain and boring. However, after repeated listens, the album naturally grew on me and I became addicted to the infectiousness of the simple repetitive hooks. The Congregation became an instant classic in my books from then on. My experience with Malina has a similar story, with the only difference being that I loved it instantly and it offered surprisingly more with repeated listening. Without a doubt, it surpasses The Congregation. But how does it do that?
Like The Congregation, each of Malina's songs were probably composed around a single motif. Though while the songs on The Congregation occasionally deviated from such motifs to introduce new contrasting or even sometimes unrelated ideas, every song on Malina adheres strictly to the motif it was composed around. In theory, if a band is unable to creatively work their way around the motif and develop their ideas in progressions that feel fresh, it is highly unlikely that an album composed in such a way is going to hold much interest. However, Leprous did it. While seemingly paradoxical, their stricter adherence to motifs have made their songs sound more varied and refreshing. Some of the most creatively-developed motifs include the off-beat accent on the opening track "Bonneville" as well as the jabbing staccatos of "Coma".
Leprous's stronger embrace of a more electronic sound have also contributed to an atmosphere that is wholly different from their other albums once again. Solberg's keyboards, particularly in "Mirage", adopt an almost trance-like flavour, creating an atmosphere that is almost astral in nature. This is further reinforced by the somewhat djent-like rhythms played throughout the albums. In contrast to other bands who play with such rhythms, Leprous intentionally writes rhythms that sound slightly off-putting, feeling almost awkward at times. However, it is that awkwardness which enhances the playfulness of such rhythms, making them more infectious and catchy than they ought to be. I might even dare to liken their sound to something like a 'melodic Meshuggah'.
"Mirage" particularly does something very interesting with its rhythms. The bass or keyboards, whichever one is making that strange pitch-sliding noise in the main motif of the track, create a peculiar time-bending atmosphere which I have never felt before in any other kinds of djent-ish music.
Furthermore, none can ignore the absolutely amazing drum work of Bard Kolstad on this album. In an earlier paragraph, I mentioned that Leprous develops their motifs on Malina in many refreshing ways. Most of these are accomplished by Bard, who injects a lot of fills to act as counter-motifs to the main ideas grounded by the rest of the band. "Illuminate" particularly showcases his most creative development as he moves into a poly-rhythm on his hi-hat on the final chorus before dexterously sliding back into the normal rhythm with a subtle yet effective fill.
In essence, Malina is a wonder to behold. It is so full of witty and subtle progressions, yet it is at the same time simple and even fun, providing great enjoyment for both casual and deep listens. It exudes creativity in such an unexpected way, bringing a whole new flavour to the table of progressive metal. It is indeed progressive metal in the truest sense of the term, being progressive in the way the songs unfold, progressive in relation to Leprous's already rich discography and undoubtedly progressive in the musical umbrella-style it belongs to. It is definitely one of the most creative and cohesive albums of 2017, and it has served immensely well in cementing Leprous's place as a prime leading force in modern progressive music.
Sample: https://www.youtube.com/watch?...
Official promo video: https://www.youtube.com/watch?...
Official promo video: https://www.youtube.com/watch?...
Official promo video: https://www.youtube.com/watch?...
