Posts Tagged ‘Leprous’

11th April 2025

Christopher Nosnibor

It’s still early days for London alternative / progressive metal quartet DAVAAR, formed in the summer of 2024 and with just five shows behind them, but they’ve wasted no time in venturing beyond London in their quest to build a fan-base, or in committing a chunk of their repertoire to tape (so to speak) for the release of this, their debut EP.

Although State of Feeling features four tracks, the title track is an instrumental introduction which is barely a minute long. This is a practice within metal circles that’s become so common as to be predictable and formulaic. It seemed to rise to prominence with the explosion of metalcore’s popularity in the 2010s, and often seemed to be an attempt to cover all bases for the purpose of a wider audience, as if to say ‘listen, we can play, we can do atmospheric and moody and gentle as well as WAAAAUUUGHHHHHH!’. But in doing so, it would often undermine the power of the attacking rage parts.

In fairness, it’s a little different in context of this EP, in that as much as DAVAAR trade in big riffs, their sound is cinematic, melodic, expansive, with clean vocals all the way. And so it is that this opening cut is softly atmospheric, bordering on ambient. A distant beat echoes through the drifting sonic mist. ‘Impulse’ arrives, not on a tidal wave of slugging riffery, but a ripple of picked, reverby guitar, and it’s only after some carefully-crafted build-up does the distortion kick in and the first of the big riffs hits. Even then, everything stays balanced, and the melody remains the focal point, and it’s easy to observe the parallels in their sound with those of their influences and acts they suggest sharing common ground with, including Sleep Token, Tesseract, Leprous, and Deftones.

There’s a lot of attention to detail in the song structures and the overall composition, with high levels of technical adeptness on display. There’s also a lot of polish here, with the end result being that State of Feeling feels fully formed, and DAVAAR’s potential to attain a substantial following is clear.

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Norwegian Rock outfit LEPROUS have just launched a brand new “Live in Studio” video-clip for their song “On Hold”, taken from their current album “Aphelion”, in order to promote their upcoming European tour starting February 1st as well as the special ‘Tour Edition’ of “Aphelion”, to be released on February 3rd, 2023 via InsideOutMusic.

The audio for “On Hold (Live in Studio)” was recorded and mixed by Thomas Wang at Urban Sound Studios and the video clip was directed by Troll Toftenes.

LEPROUS commented as follows: “For the first time we chose to release a live recording/video from the studio. We decided to do this in order to capture and show a LEPROUS song in more detail and so allow the fans to get even more into our vibe. This footage was collected as a part of our latest rehearsals before our ambitious European tour taking place February 1st until March 18th. We are looking forward to seeing you all soon…”

The “Aphelion (Tour Edition)” release will be available both as limited 2CD Digipak and as Digital album (2CD) featuring the original “Aphelion” album, its two initial bonus-tracks as well as a separate, brand-new live bonus disc of 6 tracks/40 min. recorded this year during the first leg of the “Aphelion” touring campaign at Motocultor Festival in France and in Berlin, Germany. The new live tracks were recorded and mixed by Chris Edrich as well as mastered by Pierrick Noel at Atelier Mastering.

Watch the video here:

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Utopia, the technical metal group centred around guitarist John Bailey and Corrupt Moral Altar vocalist Chris Reese will let loose their debut album ’Stalker’ this August on APF Records.

Watch the video for first single ’Happiness’ here:

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The album see John and Chris joined by an impressive list of guest musicians such as drummers Billy Rymer, Baard Kolstad (Leprous) Lee Fisher (Fawn Limbs/Psyopus) and Si Blakelock (Tangaroa/Dream Troll) alongside guitarist Simon Peter King, bassist Arran McSporran (De Profundis/Virvum) and finally keyboardist Mike Moran (Ozzy Osbourne/George Harrison).

The initial idea for the band was formed by John Bailey, by day he’s a touring guitarist for the likes of Aled Jones and Russell Watson, a far cry from the extreme metal of Utopia, but with ’Stalker’ he wanted to bring together all the music he loves, creating something aggressive and intense but also well thought out and intelligent. He comments,

‘I wanted it to be super heavy and crazy but also really emotional. The music combines elements of jazz and various styles of metal. The songwriting is very important lyrically and structurally. The lyrics draw influence from philosophy, literature, art and film (particularly the films of Andrei Tarkovsky).

The concept of the name Utopia is a reflection of mental health/neurodiversity and social structures in the world we live in. The double edged sword of trying to lead a happy life in a world of conflicting ideology and bad faith between humans. I suppose the pitfalls of attempting a sophisticated life despite us being poorly evolved primates who are highly individual in their own rights. Its ultimately rooted in varying degrees of sensitivity, mental health and neurodiversity based on individuals trying to interface with one another in a constructive way.’

Utopia was started in March 2020. As John was coming off the back of a busy tour/session schedule and felt this was the time to finally start the band which he’d been thinking about doing for years. For a vocalist he had no one else in mind but Corrupt Moral Altar’s Chris Reese.

After 7 to 8 months of writing it was then just a matter of getting each person to record their parts which posed their own geographical problems with different musicians living around the world. However once all done the album was mixed and mastered by Rob Hobson at Silent City Records.

Across the 11 tracks ’Stalker’ spawns a vast array of subject matters, such as the opener ’The Bus Station Roof’ which John describes as a reference to the place in Preston where people go to throw themselves off when they’ve had enough. The image of what might be going through people’s mind when they make that decision is really the basis of the song. Truly disassociated from the world and no longer capable of interfacing with the world.’

‘Impotent Prophet’ is a genre bending social comment on religion and how it fails. While’ Smiledyawnednodded’ is a word taken from the book ‘Ulysses’ by James Joyce. John adds, ‘It’s a great word used to describe the boredom of talking to someone who only talks about themselves and their own successes in life.’

’Stalker’ is released on 27th August via APF Records and will appeal to fans of Dillinger Escape Plan, Meshuggah, Converge, Mastodon, Botch and Strapping Young Lad.

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Leprous have shared the 3rd single from their sixth and most ambitious studio album Pitfalls, which is set for release on 25th October 2019 via InsideOutMusic.

Listen to ‘Distant Bells’ here:

Simen Børven (Bass) says: "The instrumental part of ‘Distant Bells’ is a compilation of my musical background. Influences from Nordic Jazz and Symphonic Pop infuses the attempt of stretching an extremely simple idea, from almost nothing, to an explosion towards the ending of the song. To me the composition is like an evolution from a single self-replicating cell into a complex sentient being."

Einar Solberg (Vocals/Synth): "It was both challenging and very refreshing to work on “Distant Bells”, as the main instrumental idea didn’t come from me. It opened up new doors of creativity within myself and it was very exciting to do the melody and lyrics for this track. It’s a very different LEPROUS track, and it turned out to be one of my personal favourites. Simen has a different musical background than myself, and our contradictions are probably what made this song shine so bright."

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LEPROUS – Live 2019:

LEPROUS + The Ocean & Port Noir:

01 November Esch (Luxembourg) – Rockhal

02 November Zwolle (The Netherlands) – Hedon

03 November Leiden (The Netherlands) – Gebr. De Nobel

04 November Berlin (Germany) – Kesselhaus

05 November Köln (Germany) – Kantine

06 November Frankfurt (Germany) – Batschkapp

07 November Antwerp (Belgium) – Zappa

08 November London (UK) – ULU

09 November Manchester (UK) – Academy 2

11 November Zurich (Switzerland) – Plaza

12 November Paris (France) – Cabaret Sauvage

13 November Lyon (France) – CCO

14 November Biarritz (France) – Atabal

15 November Madrid (Spain) – Shoko

16 November Barcelona (Spain) – Apolo

18 November Parma (Italy) – Campus Music Industry

19 November Munich (Germany) – Freiheiz

20 November Vienna (Austria) – Szene

21 November Prague (Czech Republic) – Palac Akropolis

22 November Dresden (Germany) – Beatpol

23 November Wroclaw (Poland) – Pralnia

24 November Hamburg (Germany) – Uebel & Gefahrlich

25 November Copenhagen (Denmark) – Lille Vega

26 November Gothenburg (Sweden) – Pustervik

27 November Stockholm (Sweden) – Fryshuset Klubben

LEPROUS:

28 November Oslo (Norway) – Vulkan Arena

29 November Stavanger (Norway) – Folken

30 November Hamar (Norway) – Festiviteten


LEPROUS with
Amorphis, Soilwork & The Ocean:
05 December Turku (Finland) – Logomo
06 December Rauha (Finland) – Saimaa Areena

07 December Helsinki (Finland) – Ice Hall

And many more dates to be announced soon…