Review Summary: This isn't Leprous, but it is an Einar solo album.
It's important to recognize that musical creativity and influence can evolve over time. Leprous has experienced significant growth and development since their debut, and while their current output might not resemble what it was in 2009 or even a decade ago, every album has still been unmistakably
Leprous. Sometimes, it is easy to overlook the fact that bands, and individual musicians, naturally evolve and mature over their lifespan. If they want to have longevity, it is likely their style and approach will change. I admit I was guilty of forgetting this when I reviewed
Pitfalls and suggested that it could easily be perceived as Einar Solberg’s solo project instead of just a natural progression. However, with the release of an actual Einar Solberg solo album,
16, it should put all previous discussions to rest because the two are distinctly different.
When I first learned of this solo album, I assumed it would be characterized by indulgence and flamboyance, featuring extravagant vocal displays and unconventional compositions blending piano and electronic elements. I can’t say I was upset by this assumption; however, I was totally wrong.
16 doesn’t adhere to those expectations, nor does it feel like an extension of the previous few Leprous releases. Instead, it offers a different musical experience, straying away from excess and focusing on a distinct artistic direction that is pretty much the opposite of my initial assumptions.
16 embraces a moody and subdued tone, prioritizing atmosphere over showcasing Einar as a solo artist. It turns out, Einar was more concerned with delivering some of the most introspective lyrics of his career rather than simply showing off his vocal range.
Nowhere is this subdued emotive atmosphere more apparent than the seven-minute opening title track. Featuring a soft layer of strings and a crooning Einar vocal, it sets the tone for the entire album; one where Einar prepares to take a deep introspective look at his life despite, “the thought of facing it again.” It's a song that holds back on introducing any percussion or dynamics until almost six minutes in, preferring to focus on Einar’s lyrics. Following “16”, subsequent songs introduce elements such as electronics, live percussion, programmed beats, and a touch of proggy quirkiness. However, even with these additions, all the songs revel in a consistently mellow and introspective tone, occasionally punctuated by fleeting surges in volume and tempo when the moment calls for it. Even “Splitting the Soul” – which features the recognizable rasp of Ihsahn – sits within the same subdued electronic / prog realm as the rest of the album integrating his vocals into the established formula instead of changing to suit his style.
The last few Leprous releases may have signaled a significant change in direction, but the release of Einar Solberg’s solo album should help alleviate any lingering discussions regarding them becoming a solo project. By showcasing a collection of songs that are solely by him, it should be evident that Leprous and Einar Solberg's solo work are distinct entities. Moreover,
16 deserves to be viewed as an independent release, surpassing initial expectations by delivering a distinctive and contemplative musical journey that focuses on creating a cohesive opus rather than solely showcasing Einar's versatile vocal style.
