Prog Einar Solberg, Leprous’ vocalist and chief composer, says the band’s ninth LP, , is lots of things – heavy, stripped-back and, curiously, takes gangster rap as a major influence. The one thing it isn’t, says Solberg, is prog. And yet by its very nature, it progressive.
It’s another superlative example of how Leprous are able to redefine prog’s most recognised hallmarks for the contemporary landscape. Instantly recognisable as Leprous – Solberg admits they’d “need to make an extreme effort” to write something that wasn’t – the approach to its composition is different. “I think it’ll be quite unifying,” he says what the Norwegians hope will please fans of their earlier, more metallic material, while luring fresh listeners from outside of prog’s borders.
It could just be that the band are conscious of what defining this record as ‘prog’ could do to their wider marketing. Solberg has already talked up plans to “focus on bigger, more exclusive shows with bigger production.” So perhaps they’re trying to be a little more and a little less .
“I grew up on cassettes in the 80s – the Pet Shop Boys, A-ha, ,” Solberg says. “They were pop but they had something else, so why not connect with that stuff? Prog doesn’t have to be all about 70s sounds.” It seems like an attempt to unshackle from the cliché of 20-minute keyboard solos by a guy in a cape.
Leprous have always dressed their prog in modern clothes; and, like , and before .