Leprous’ most recent album, Melodies Of Atonement, followed the release of Aphelion three years earlier, which had featured a song co-written with their fans during Covid lockdown. That experience informed what they did with their eighth studio record – although not in the way it might have been expected, as they told Prog in 2024.
When crafting 202 album Aphelion, Leprous wrote the track Nighttime Disguise over a series of lockdown livestreams with the help of their fans. That experience, says guitarist Tor Oddmund Suhrke, “showed us that a lot of our fans are also musicians. I said that if we give them the option of combining different elements, like time signatures, then that’s what they’ll choose.”
He continues: “I was right. We ended up using three different time signatures, three different keys, both six- and eight-string guitars and acoustics. It has hectic riffs, epic brass, growling and high-pitched vocals. I guess our fans agree with Yngwie Malmsteen – more is more!”
Those who adore Nighttime Disguise will find plenty to love on new album Melodies Of Atonement. With Einar Solberg’s blossoming solo work set to explore the orchestrations that characterised Leprous’ previous three records, the prog metallers are going the other way.
“We wanted to see what we can do with the instruments we have in the band,” Solberg says. “We’ve also tried to use each member to the best. We tried to work more like a football team; you don’t have everyone playing in the same position at the same time.”
While slightly at odds with the Suhrke’s Malmsteen reference, Solberg reflects: “I think by removing elements, you can make other elements more prominent and shine more. Music doesn’t get bigger by adding stuff – that’s a misconception.
“Symphonic orchestras rarely have everyone playing at the same time. By removing some elements you can make the music so much more impactful when everyone does come together. We love to play with the dynamics. It was amazing to do it with only the five of us.”
Leprous’ blueprint remains multidimensional, allowing for new influences and ideas to seep in. “We wanted lots of 90s hip-hop grooves with Leprous on top,” Solberg reports. “Imagine B-Real from Cypress Hill rapping over the top of the intro of Like A Sunken Ship – that was the vibe we were going for.
“We’ve found we can do whatever we want, musically: once we’re all playing on it, no matter how much we change our sound, it will always sound like Leprous. When you stop trying and stop worrying about what you want to be, you put yourself be out there in the open for people to love or hate you.
“That is the key to originality. The human mind is universal; people always find something to recognise in their own life in your lyrics and music, even if it’s different from how it was intended.”
On Exciter’s first three albums, now widely regarded as classics – Heavy Metal Maniac, Violence & Force and Long Live the Loud – Allan Johnson’s bass playing and songwriting played a fundamental role in shaping the Canadian band’s speed/thrash metal sound. For Johnson, however, the Exciter chapter has now come to a definitive end. Following […]
A Dark Poem, Part III: The Messiah Complex arrives with a lot to prove. Not only is it the conclusion to the already superb namesake trilogy (inspired by Arthur Rimbaud’s 19th century poem about Hamlet’s Ophelia), but also because it follows several other superb LPs that established Green Carnation as Norway’s premier progressive/gothic metal ensemble. Thankfully, it’s a very fitting – if potentially polarizing – finale to what’s likely the band’s most ambitious endeavor yet.
Maintaining what worked so well from 2025’s A Dark Poem, Part I: The Shores of Melancholia and this year’s A Dark Poem, Part II: Sanguis, The Messiah Complex delivers the emotionally charged and eloquently constructed ride fans expect. Its audacious choice to devote virtually half of its runtime to a closing classical instrumental, however, may divide listeners, and ultimately, it’s that choice that’ll truly decide how you feel about the LP on its own and in comparison to its two precursors.
As singer Kjetil Nordhus explains in the official press release, the Dark Poem saga is Green Carnation’s “biggest achievement since Light of Day, Day of Darkness.” Indeed, the roughly two-hour triptych equals (or even surpasses) what the group achieved on their 2001 masterpiece. Plus, Nordhus and bassist/lyricist Stein Roger Sordal were adamant that each chapter worked on its own while having more impact when taken together, and on that front, The Messiah Complex greatly succeeds as both its own thing and as the unifier of the whole Dark Poem project.
The band also say that the bulk of The Messiah Complex features more “rich strokes of prog” amid sustaining its predecessors’ “collective anxiety over encroaching technology, power-hungry leaders and social division.” As for the titular orchestral suite, it “waves in themes from across the trilogy,” and as Nordhus clarifies, they knew it had to be done no matter how others felt about it:
Everyone we’ve talked to is surprised by what we chose to do with the orchestra. It’s a bold statement. But from the moment we started our journey into this trilogy, everyone in the band agreed that we were not going to accept any compromises. To end A Dark Poem with an orchestra and all its capabilities is a very proggy thing to do, like the great bands did back in the late ‘60s.
We’ll get to that track in a bit, but first it’s worth exploring why the first three tunes on The Messiah Complex are business as usual in the best possible ways.
Gratifyingly, opener “Unconditional Artificial Chemistry” finds Nordhus dishing out his trademark anthemic hybrid of dejection and empowerment while surrounded by sophisticated yet fairly straightforward and biting arrangements. Then, “The Messiah Complex” largely channels Green Carnation’s softer, sparser, and proggier side via atmospheric breaks, erratic outbursts, beautifully nuanced instrumentation, mournful singing, and contemplative Biblical songwriting (“A sign that suffers, is due to rejection / A mind that thinks of its own / Judgement is upon you, the Kingdom of Heaven is found at the stairs of a church”). As for “Broken Souls, Common Enemies,” it comes closest to being a ballad, with its vulnerable verses and impassioned choruses being decorated by trepid acoustic guitars, synths, percussion, and other delicate textures. That said, it also features some growling and corresponding metal accentuations (making it the most dynamically wide-ranging piece of the bunch).
As already mentioned, the magnificent (nearly 17-minute) “A Dark Poem – Orchestral Suite” serves as the self-reflective climax of the entire Dark Poem voyage. Beginning subtly with all sorts of symphonic timbres and choral chanting, it expertly interweaves various motifs as it alternates tools and temperaments. It’s undoubtedly a breathtaking and aspiring endeavor full of rich tapestries, but at the same time, listeners who do adore Green Carnation’s typical approaches and/or don’t adore classical music may not be wholly satisfied by – and enamored with – the composition.
As both its own experience and the conclusion to the Dark Poem trilogy, The Messiah Complex is extremely successful at returning to (and building upon) the victories of what came before it. It offers everything Green Carnation devotees could want with its initial tunes, and no matter how atypical and contentious the finale may be for certain people, it’s hard not to admire its daringness, integrity, and sheer splendor. Above all else (and like its predecessors), The Messiah Complex showcases that Green Carnation aren’t slowing down after roughly 25 years; rather, they continue to rank among today’s most reliable, idiosyncratic, and gratifying progressive metal masters.
Tracklist
1. Unconditional Artificial Chemistry (6:09) [WATCH]
2. The Messiah Complex (6:48)
3. Broken Souls, Common Enemies (8:45)
4. A Dark Poem – Orchestral Suite (16:47)
Full runtime: 38:31
Kjetil Nordhus — Vocals
Stein Roger Sordal — Bass, Keyboards, Rhythm Guitars, Lead Guitars
Endre Kirkesola — Keyboards, Organs, Synthesizers, Effects
Bjørn Harstad — Lead Guitars, Effects
Jonathan Alejandro Perez — Drums
MASTODON’s legacy deepens. I don’t have to tell fans anything about their previous works such as ‘Leviathan,’ “Blood Mountain,’ or ‘Crack The Sky,’ which were a three-album run that put the band on the map and defined their sound. They also won a Grammy for the song ‘Satan’s Curse’ from their 2017 album ‘Emperor of Sand.’ In a surprise twist of events however, Vocalist and Guitarist Brent Hinds abruptly left the band five months ago and tragically died in a motorcycle accident. The band was left with the aftermath. Enter ‘Marrow Deep.’ Bassist/Vocalist Troy Sanders describes the album as “a moment of rebirth rather than an ending,” and drummer Brann Dailor comments that the music was a way for him to help process grief, rather than just sitting with it. Guitarist Bill Kelliher further adds that “I bawled when listening to the finished album, but some of them were tears of joy.” Five years have passed since ‘Hushed and Grim’ was released. Taken literally, the new album title refers to something vast and monolithic.
Three songs were released ahead of the album, and they are what I would like to start the review with. If the lead single, ‘Your Ghost Again,’ is indicative of what the album will offer, we are in for a beating. It opens with a bang, and it covers ground fast. The vocals roar with an echo, and the riffs are punishing. The band also shows restraint at times by holding back the pain and releasing the monster at just the right time. You can hear complexities in the song, as well some psychedelica, but they aren’t the main focus. It’s mostly about commanding, towering riffs. ‘Snakes for Dinner’ is gritty, heavy, and downright rowdy. Another fast mover, it stomps over the ground like a giant, crushing the earth beneath its feet. The vocal harmonies in the chorus are excellent, and they provide a melodic edge along with the bevy of flying fists. The song is nuanced, with sophisticated leanings, but at the same time, it’s also palatable. Some might even call it inviting.
‘In the Ruins’ is slower at first, with clean, gentle guitar tones, and was inspired by the terrible impact of Hurricane Helene and the personal havoc it wreaked upon Troy and his family. They were essentially displaced from their home for two years, and this event coincided with the death of Brent. But the song is not just about trauma, it’s about his resilience to work through the displacement and come out stronger on the other side. The vocals are raspy, and also very emotional, and they are reflective of the desolation he must have felt. It’s a gentler departure from the sonic presence of the first two songs, but don’t think for a minute that it won’t move you. In the end, rougher and sharper tones indicate the triumph he gained over the experience. A leading song should give the listener an idea of what to expect from the album, and that’s what ‘Barbarian Blood’ does. It’s slow and powerful at times, and moving, shifting and animated at other times. It shows a band who doesn’t want to rest on one predictable sound. The keyboard solo towards the end adds a distinct middle eastern flair to the song, as if it was plucked from the desert itself. The surprises keep coming.
‘Poisonous Weapons’ has a commanding sound that isn’t without melody or emotion, and the two wrestle with one another throughout the song. The bridge provides a change from the hardened core, with lyrics like “blood-soaked stains resurrect the dead, parasitic rats feeding on the wound that’s in your head.” You can feel a measure of lamenting as he sings these lines, but the delivery of them is almost nonchalant. The machine rolls on. ‘Out Like a Lamb’ refers to the month of March in the climate of the northeast…the saying goes, “in like a lion, out like a lamb.’ Animated bass notes dance behind the vocals and riffs, and it shows more of the introspective side of the band. They aren’t just a vehicle that stays straight on the tracks, and this song showcases their deep pockets. ‘They’re Coming for You’ is darker, more twisted, even sinister at times. The riffs climb and descend and are backed by a healthy does of keyboards. The bass and drum work hold it all together. They create a massive slab of concrete for the rest of the band to play on. You can hear more Progressive elements in this song, particularly in how they shift the meter, and the chorus pushes hooks in the vocals.
‘Golden Spires’ begins with a succession of tom drum rolls that sound like rocks breaking free from a mountain, and the riffs are always on the move. Sometimes dissonant, and other times melodic, it’s the balance of might and power with restraint that I find most compelling here. They move these passages with the skill of a race car driver shifting gears through curves in the track. Towards the end, they throw in a flurry of dexterous lead guitar notes just to remind you of their prowess. ‘Moth and Bone’ is a total surprise, but also a welcomed one. Too many bruisers in a row can suggest the album is less dimensional, and this song shows the band at their most vulnerable. Vocals and keyboards are like the mist that clings to the air in the early morning, and the melody is tender and ethereal. You make an immediate attachment to the catchy nature of the song, just before they descend back down on top of you with hands extended and fists flying.
‘A Vampire’s Demeanor’ is as dark and nefarious as the title suggests, and the vocal screams and steady riffs act like a typhoon’s raging winds trying to bring down the mountain. For as heavy as the anger is, however, there are also gentler passages that provide a little reprieve from the ass kicking . ‘The Vanishing’ is a song that is steeped in the deep traditions of the band and their past albums. Fuzzy, powerful bass notes lead off the song in a psychedelic haze of sorts, before the guitars and vocals enter. The vocals have that heavy reverb that reminds me of the song ‘Planet Caravan’ by SABBATH. Bassist Sanders has mentioned that he was influenced by Geezer Butler, after all. The song is like an LSD trip…colorful and peaceful, but also strange. ‘The Three Fates’ is the final song, and also the longest. It’s a journey, even an exploration, across a plethora of landscapes and textures. In a spoken word segment, they talk about a curse that “slithers across the floor at a snail’s pace,” and “every brick, every stone stacked against you.” The message is as emotionally crushing as some of the music.
Twelve songs is a lot for an album these days, but it seems that the band has a lot to say. I don’t think it’s a stretch to say that this might be their most diverse album to date. In addition to bone-crushing sludgy riffs, and vocals that strike like lightning bolts, it’s the bass and drum section that I admire most. They lay the foundation that the entire album is built on, and it’ something that won’t crack under pressure. There are other things at work…psychedelica, bossy lead guitar runs, and even some introspective features of the album that may reflect the band’s previous sense of trails and tribulations. It’s a statement for me. A statement of pain that transforms into revival, turning grief and uncertainly into one of their most focused efforts to date. This is MASTODON clawing their way back to the top and admiring the view.
1. Barbarian’s Blood
2. Poisonous Weapons
3. Your Ghost Again
4. Snakes For Dinner (feat. Josh Homme)
5. Out Like A Lamb
6. In The Ruins
7. They’re Coming For You
8. Golden Spires
9. Moth And Bone
10. A Vampire’s Demeanor
11. The Vanishing
12. The Three Fates
Brann Dailor – Drums, Percussion, Vocals
Bill Kelliher – Guitars, Backing Vocals
Troy Sanders – Bass, Vocals
Nick Johnston – Guitars, Backing Vocals
João “Rasta” Nogueira – Keyboards, Synthesizers
(written by Islander) As I did yesterday morning, I began today by again bleakly stared at my enormous list of links for new music. I could hear the list chortling at me. “You fool,” it muttered in between cackles, “you won’t even scratch the surface.” The truth of that mockery made it no less degrading. […]
The Women of The Fall Weekender comes to South Manchester on Saturday 5th and Sunday 6th September 2026, bringing together women from The Fall’s history with a younger generation of musicians, writers and artists. Following on from the Futures and Pasts Event at Band On The Wall a couple of months ago, next weekend sees […]