LEPROUS – LIVE -THE MELODIES OF ATONEMENT TOUR

By Rick Fleck

Leprous is in a constant state of evolution. Like similar bands, such as Opeth, The Ocean, and Deafheaven, they started as a much heavier incarnation, with prominent harsh vocals. But all four vanguard bands–as well as a plethora of their metal disciples–have been shifting towards the world of prog-metal with more introspective lyrics, a wider sonic palette, more melody and, almost exclusively, clean vocals.

Leprous stopped in Somerville, Ma at the Somerville Theater on the second leg of their 24/25 Melodies of Atonement Tour. On five nights of the tour, they would play a special show–‘Leprous: 10 Years of The Congregation‘, wherein they would play their watershed album from start to finish. We were thrilled to be treated to this rare occasion.

Leprous is founding members Einar Solberg (lead vocals and keyboards) and Tor Oddmund Suhrke (guitars and backing vocals). Rounding out the band are members Baard Kolstad (drums), Simen Børven (bass and backing vocals) and Robin Ognedal (guitars and backing vocals). Harrison White (keyboards) is a touring member.

The opening song, “The Price,” is the lead track from the The Congregation album. The piece began with an atmospheric introduction that built into a powerful, djent-stylized sonic explosion. Pacing the stage, Solberg sang in his dynamic and unique style. “The Price” is a prog-metal beast with a driving beat. Followed by “Third Law,” Solberg was a bundle of manic energy.

Photos Rick Fleck

“Rewind” was our first glimpse at Solberg’s comical side. Making reference to the fact that we were in a theater with fixed seating, he told us to stand and sit depending on whether the songs were “high energy songs (or) low energy songs.” He formed a relationship with the audience utilizing his sharp, self-effacing sense of humor, unafraid to poke fun at himself, the band or the songs.

Kolstad was a drumming madman, driving the band with his rhythms and beats while adding thunderous style and diverse texture. During the song “The Flood,” Kolstad reminded me of legendary drummer Carmine Appice (Vanilla Fudge; Cactus; Beck, Bogert & Appice) with his combination of dexterity and power. Playing shirtless, Kolstad departed from the band’s apparently strict dress code of black pants, shirts, and shoes.

During “The Flood” we heard the first really high notes from Solberg, who sounded operatic at times. The song ended with the sound of a loud, arresting, electronic heartbeat. “Triumphant” showcased Solberg’s wide vocal range, putting him in the class of other great rock/metal singers like Skid Row’s Sebastian Bach, Queensryche’s Geoff Tate, and perhaps even the legendary Freddie Mercury.

“Within My Fence” continued to show Solberg’s great sense of humor, warm demeanor, and magnetic personality. The song opened with a complex rhythm reminiscent of King Crimson’s “Thela Hun Ginjeet,” originally performed by prog-rock guitar maestro Robert Fripp—a lofty comparison for guitarist Suhrke. I loved the judicious use of keyboards in “Red” and the interesting sounds that were created. The keyboards sounded more New Wave/Synth Pop than traditionally used in heavy metal and it was done to great effect. White even snuck in a bar or two from Bach’s Toccata and Fugue in D Minor, famously used in many films, including the 1962 version of The Phantom of the Opera.

The opening chords of “Slave” sounded like they were borrowed from Black Sabbath’s “Iron Man,” perhaps a wink and a nod to the progenitors of heavy metal. The band danced around the stage like a circle of whirling dervishes. Solberg joked that “Moon” is requested a lot by fans, adding dryly, “but we don’t play it.” I don’t know why not. It’s a great song and the band leaned into it like it was a setlist staple.

“Lower” was the last song of The Congregation album. Solberg introduced it saying the song “does not (have) a feel good ending.” “Lower” opened and closed with a melody reminiscent of a nursery rhyme. The songs from The Congregation felt like pieces of a complete work. Those of us in attendance at the Somerville Theater were lucky to be there for this once in a lifetime event.

Continuing with the show, “Nighttime Disguise” was a beautiful song, again with vocals showcasing Solberg’s stunning range. The song is a theatrical showpiece and included perfectly placed and very effective rough vocals. “Below” was my favorite song of the night. It has a classic rock/metal sound and is a longer composition in a show full of long songs. It’s an epic prog-metal track with a great melody and old-school ’80s metal elements heard in bands of the era like Judas Priest and Iron Maiden.

“Nighttime Disguise” is a song you can build a concept album around. The final song of the set, “From the Flame,” drew my eyes once again to drummer Kolstad, who looked like a Marvel superhero. The first encore was “Atonement,” the lead single from their latest album Melodies of Atonement. The show came to an end with the dramatic and atmospheric instrumental “The Sky is Red (Outro Only).”

The lead-in band were Finnish prog-metallers Wheel. Their first song, “Porcelain,” was suggestive of Fragile and Close to the Edge-era Yes. “Empire” was much heavier, incorporating elements of thrash. “Dissipating,” an epic-length song with a moody intro, took us on a journey driven by rumbling drums and could easily fit on one of Opeth’s later albums.

Photos Rick Fleck

Lascelles, sporting a short haircut with shaved sides and a topknot, looked more like a Premier League footballer than a metal frontman, but he has an excellent voice, a strong range, and knows how to entertain a metal-leaning audience. Wheel’s final song of their set was the eponymous “Wheel.” The song began with powerful, martial-style drumming before veering into territory reminiscent of Tool’s “Sober.” There are a lot of similarities between Wheel and Leprous, including that particular Nordic prog-metal sound they share with bands like the aforementioned Opeth. Pairing Wheel and Leprous was an obvious choice that provided an incredible range of metal, prog, and hard rock.