ÜÛÛÛÛÛÜ °ÛÛÛÛÛÜ ÜÛÛÛÛÜ°ÛÜ °ÛÜ ÜÛÛÛÛÛÜ ÛÛÛÜÛÛ ÜÛÛ ÜÛÜ ÜÛÛÛÛÛÛ ÜÛÜ ÜÛÛÛ °ÛÛÛÛ°ÛÛßÛÛÛÛ² ßÛÛ ÜÛÛ°ßÛÛÛÛÛ ÛÛÛÛ ÛÛÛ² ÛÛÛÛÛÛ²ÛÛ ²ÛÛÛÛÛÛÛ ÛÛÛ²°ßÛßÛÛÛÛ ÛÛÛ² ÛÛÛ² ²ÛÛÛ° ÛÛ ÛÛÜ ÜÛÛ²ÛÛ ²ÛÛÛ²ÛÛ° ²ÛÛÛ°ÛÛÛ°ÛÛÛÛÛÛÛÛÛÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ° ÜÛÛÛ ÛÛÛ ÜÛß° ÛÛÛÛÛÛÛÛ°ÛÛ ÛÛÛÛÛÛÛÛÛÜ ²ÛÛ°ÛÛÛ ÛÛÛ²ÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛ ÛÛÛ ÛÛÛ° ÛÛÛÛÛÛÛ ÛÛÛ² °ÛÛ ÛÛ ÛÛÛÛÛÛ² °ÛÛ ßÛÛ ÛÛÛ°ÛÛÛ²ÛÛÛÛÛÛ ÛÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛÛÛÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÜ ÛÛ²ÛÛÛ° ÛÛÜ ÛÛ°ÛÛ² ÛÛÛ ßßÛÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ²°ÛÛÛÛÛÛÛ° ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ²ÛÛ²ÛÛ° ÛÛÛ ²ÛÛÛÛ ÛÛÛ ÛÛÛ ²ÛÛ² ÛÛÛ ÛÛÛ° ²ÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛÛ ²ÛÛÜ ²ÛÛÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ °ÛÛÛÛÛÛ ÛÛÛ °ÛÛÛÛ °ÛÛÛ ÛÛÛ²ÛÛÛ² ÛÛÛ °ÛÛÛ ÛÛÛ ÛÛÛ ÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ ²ÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ °ÛÛÛÛÛ ÛÛÛ ÛÛ²°ÛÛÜ ÛÛÛ ²Ûß ²ÛÛÜ ÛÛÛ ÛÛ° ÛÛÛ ÛÛ² ÛÛÛ ÛÛÛ °ÛÛÛß °Ûß ÛÛ° ÛÛ °Ûß °ÛÛÛÜ ß ß ²Ûß ÛÛÛ° °Ûß ÛÛß ÛÛ° ÜÛÛß °ÛÜ ÜÛÛÛß °ÛÛ ° ÛÛ ²° ²° ÛÛ° ²Û° °Ûß ßÛ° °Û² ° ÛÛ ÛÛ Artist: Leprous ÛÛ ÛÛ ² Û°° þÛ Album: Pitfalls Ûþ °°Û þ Û²ß Û Year: 2019 Û ß²Û ° Û ² Rel. Date: 2020-01-11 ² Û ± ± Genre: Progressive Rock ± ± ÛÜ ° Label: Inside Out Music / Sony Music ° ÜÛ ° ÛÜ ° Source: CD ° ÜÛ ° Û² Type: Album ²Û ° ² Û Quality: VBR, 44.1kHz, Joint Stereo Û ° ² ² Û Û ° ² Ü þ þ ² þ °Û Û° ß Û Prior to the release of Norwegian quintet Leprous’ Û Û latest LP, Pitfalls, vocalist Einar Solberg called Û Û it “the biggest production and musical departure Û Û we've done,” and he’s not wrong. Whereas past Û Û releases—including 2017’s Malina—upheld their Û Û characteristic progressive metal core with Û Û increasingly prevalent dashes of ambient textures, Û Û this sixth outing greatly abandons those rougher Û Û edges. Undoubtedly, this will deter some longtime Û Û fans, which is a shame considering how emotionally Û Û raw and tonally gorgeous the record is from start Û Û to finish. Truthfully, the album sees Leprous at Û Û their most atmospheric, gentle, and confessional, Û Û making it a must-hear not only for followers but Û Û also for anyone struggling with their own inner Û Û demons. Û Û The group has explored personal circumstances and Û Û universal struggles before, but not to this Û Û extent. Specifically, the sequence finds Solberg Û Û exploring his battle with anxiety and depression Û Û over the last year-and-a-half. He adds, “I am not Û Û talking about what I faced in metaphorical terms. Û Û I have written in a very straightforward manner, Û Û so everyone will understand what I went through.” Û Û The title Pitfalls, then, is aptly chosen to Û Û represent those seemingly bottomless cognitive Û Û hardships. Although he touches upon each phase of Û Û his journey, he chose not to examine it Û Û chronologically because “that's not how life Û Û works.” Produced by David Castillo and featuring Û Û contributions from cellist Raphael Weinroth-Brown Û Û and Bent Knee violinist Chris Baum, Pitfalls is Û Û arguably Leprous’ most moving and sleekly sounding Û Û statement to date. Û Û Solberg sees Pitfalls as having two distinct Û Û halves—the “poppier side” and the more Û Û “experimental and progressive side”—and he’s got a Û Û point. Opener and lead single “Below” is eerily Û Û quiet yet catchy from the start, with bizarre Û Û timbres backing his beautifully intersecting Û Û falsetto laments about burying internal ordeals. Û Û Admittedly, the chorus is heavier, but not in the Û Û customary Leprous way since it’s more about Û Û strings and vibe than it is crushing percussion Û Û and guitar chords. It’s still plenty dense and Û Û devastating, though, with Solberg revealing his Û Û strengths as a singer and victim of trauma as he Û Û belts out a highly relatable sentiment: “And I Û Û will lie, lie / Keep it all together.” Here, he Û Û immediately preserves his place as one of the best Û Û vocalists around while also letting listeners know Û Û that they’re not alone in what they’re going Û Û through. Û Û The less abrasive and moodier memorability Û Û continues with “I Lose Hope,” a chillingly Û Û symphonic reflection on, well, hopelessness that Û Û kind of has a disco beat, too. Afterward, “Observe Û Û the Train” is almost dreamy and warm—like a Û Û lullaby—before “By My Throne” presents a panicked Û Û cascade of captivating interlocking vocals. In Û Û contrast, “Alleviate” is a bit more tribal and Û Û explosive, but it’s also more soothing and Û Û accessible than you might expect. Thus, the Û Û initial few tracks are indeed more radio-friendly Û Û and approachable despite still harnessing some Û Û trademark Leprous heft and dread. Û Û The aforementioned complexities come back with “At Û Û the Bottom,” a somewhat electronic explosion with Û Û plenty of dynamic rhythmic swings and shifting Û Û layers. Interestingly, “Distant Bells” begins Û Û almost like a surreal piano ballad prior to Û Û transforming into a harrowing beast highlighted by Û Û hectic percussion and wavering tones. Arguably the Û Û most “traditional” tune is “Foreigner” due to its Û Û aggressive statements of purpose (“It’s a fight to Û Û stay alive / It’s a fight against myself”) and Û Û volatile arrangement. Of course, closer “The Sky Û Û is Red”—which Solberg sees as the “farewell song” Û Û and the “longest and weirdest composition” Û Û here—ends Pitfalls in magnificently ambitious Û Û fashion. Oscillating between dissonant soundscapes Û Û and rebellious beats (both of which evoke Tool, Û Û actually), as well as faint choral ethers, it’s Û Û among the most striving and unpredictable pieces Û Û they've written. Û Û Pitfalls is a brilliant entry into Leprous’ Û Û catalog. Its familiar elements are done as well as Û Û ever, and the changes in direction feel earned and Û Û perfected, too. Honestly, there’s certainly enough Û Û here to please most longtime followers, and the Û Û group should be commended for taking some risks Û Û along the way. Above all else, Solberg deserves Û Û just as much praise for his inimitable performance Û Û as he does for sharing his most private struggles Û Û and triumphs with anyone who'll listen. In that Û Û way, Pitfalls extends beyond most music to Û Û educate, empathize, and entertain in equal Û Û measure. Û ² ² ± ± ° 1. Below 5:52 ° ° 2. I Lose Hope 4:44 ° ° 3. Observe the Train 5:07 ° ° 4. By My Throne 5:44 ° ° 5. Alleviate 3:42 ° ° 6. At the Bottom 7:21 ° ° 7. Distant Bells 7:22 ° ° 8. Foreigner 3:51 ° ° 9. The Sky is Red 11:51 ° ° 10. Golden Prayers (Bonus Track) 4:28 ° ° 11. Angel (Bonus Track) 6:27 ° ° 66:29 ° ° ± ± ² Û ° ² ° þ ÛÜ ° ÛÛ ßÛÜ° ÜÜÜÜÜ ² ° ÜÜÜÜÜ °ÜÛÛ° ° ßÛÛÛÛ²ÛÜÜÛÛÛÛÛÛÛÛÛ²° ÛÛÛ ÛÛÛ²° ÛÛÛÛÛÛÛÛÛÜÜÛÛÛÛÛÛß ² ²ß² ±ÛÛÛÛÛÛÛßß ßÛÛÛÛÛÛÛÛ± °ÛÛÛÛÛÛÛÛß ßßÛÛÛÛÛÛÛ°²ß² þ ° ÜÛ°ÛßßÜÛÛÛÛܲ ßÛß Û²° ±²Û ßÛß ÜÛÛÛÛÜ ßÛÛÛÜ° ÜÛß° °ÛÛÛßßßÛÛÛÜ ßÛ± ÛÛ² ÛÛ ²Ûß ÜÛÛÛßßßÛÛÛ° ßÛ° Ûß ²ÛÛ² ÜÛÛÛ ßÛ² ÛÛÛÛ ±Ûß ²ÛÛÛÜ ²ÛÛ² ßÛ² Ûß ²ÛÛ° ±ÛÛÛÛÛÛ² ßÛ Û² Ûß ²ÛÛÛÛÛÛ± °ÛÛ² ßÛ ± ÜÛÛ °ÛÛÛ ²ÛÛÛ² ß°ÛÛ°ß ²ÛÛÛ° ÛÛÛ ÛÛÜ ± °Ûß ÛÛÛ Üß ÛÛÛÜ ²ÛÛÛÛ± ÜÛÛÛßÜ ÛÛÛ ßÛ° ²Ûß ÜÛÛÜÛß ° ÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ßÛÜ ÛÛÜ ßÛ² Ûß ÛÛÛÛßÛܲ°ÜÛ ßÛÛÛÛÛÛß Ûܲ°ÜÛßÛÜÛÛ ßÛ² ° Ü ÛÛß ßÛÛÛÛß ßÛ²ßÛÛ ßÛÛÛÛß ßÛÛÛ Ü ± Û°Û² ÛÛ° Û° Û °ÛÛ ßÛÛ±Û ÛÛÛ° ±Û° Ü ² ± °Û± ²ÛÛÛ ° ²ÛÛ ° ÛÛ² ÛÛ° °ÛÛ Û± ° °Û ßÛ Ûß ² ° °