There are many things to be said about Leprous, things that have been said over and over again (not to be mention at the time) but have the same substrate, the same mastery.
On this material Einar Solberg’s voice reminds me in some places of Matt Bellamy (Muse), which makes it even more interesting, I would say. It’s a breezy and well-calculated progressive metal, with specific and motivational songs that has already become the definitive resource for Leprous. While speaking about the voice, this gives a very pronounced mark from the very first audition. Not that you avoid it after this first listening. The songs, generally, have a transcendental resonance that can move you toward other areas of comfort, convenience and which makes from this album memorable meaning. The parts where the instrumental technicality becomes more aggressive are somewhat reduced, which can bring a handful of frills and reproaches. This is less important. How tastes are being discussed, I think that the guitar tones come masterly to experiment an area of refinement musical, even with some groove approaches. The end of “Rewind” is, however, a combination of extreme metal and sublime tones. “Slave” fits here too, but I think that it comes up with more inner vibes, given by the chorus and, perhaps, by the heaviness with which his voice and instruments granted mix into a slowness, as well as for a sad waltz to put on repeat on dusty strip of the soul.
In other words, Leprous shows us another face of their musical concept, a more mature one, a production up to last and will prove otherwise. There are many concealed components in this material and come to surprise you as you listen to. It is a story that you’ll find out about later, when you wake up with it in your mind and you don’t know where to take it from. You came back and you realize, after a period of time, that “The Congregation” is a musical passage from your world.