Review by Daniel for Leprous - Tall Poppy Syndrome (2009) Review by Daniel for Leprous - Tall Poppy Syndrome (2009)

Daniel Daniel / January 29, 2019 / 1

I was a little late to discover the wonders of Norwegian progressive metal high-achievers Leprous to be honest. When I returned to metal in 2009 I was simply too focused on making up for lost time in the extreme metal space & it seems that “Tall Poppy Syndrome” may have floated by right in front of my face without me ever bothering to look up. It wasn’t until 2013 that their “Coal” album saw me getting onboard the Leprous train & the experience impressed me enough to entice me into checking them out on their first Australian tour three years later when they co-headlined with Perth’s Voyager at the Factory Theatre here in Sydney. Leprous were really solid in a live environment too but didn’t play anything further back than 2011’s “Bilateral” & that may well have contributed to me never having felt the urge to venture any further back into their back-catalogue which, as it tuns out, is a real shame given the results of the last couple of day’s listening sessions.

“Tall Poppy Syndrome” certainly gave me a solid nudge but I wouldn’t say that it knocked me off my feet on first impression. I was undoubtedly struck by the overall class of this record however I didn’t find myself reaching for elite level comparisons until subsequent listens & I think that has a bit to do with the fact that it relies so heavily on a few highlight pieces. The 63-minute, eight-song tracklisting is extremely consistent with the shortest & most laidback inclusion “Fate” representing the least impressive of the eight tracks but still being quite enjoyable. It’s interesting that Leprous have opted to hold back on drawing from their best material until a good fifteen minutes into the album though & I think that’s one of the reasons that it took me a couple of listens to see my feelings reaching their fullest realisation as I found that my initial impressions were already set by the time I got to those tracks the first time around & I needed time to let it all settle in my brain before being open to the finer nuances that became more evident with a great level of exposure. The first two tracks are both highly professional & are really very strong in their own right however they simply don't prepare me for the wonderfully constructed & more obviously hook-laden pieces from a little later in the tracklisting with “Dare You”, the title track or “Not Even A Name” all being superb pieces of progressive metal that saw my score rising into the stratosphere.

You won’t see the wheel being reinvented here by any means & the tendency for people to want to toss around terms like “avant-garde” are completely misguided, as are the references to progressive rock as there’s not a single track here that branches outside of the metal spectrum. “Tall Poppy Syndrome” is simply a very high-quality progressive metal record that presents its influences fairly openly for all to see but manages to match its more widely celebrated peers pretty comfortably in the process. It’s not hard to identify the sort of Dream Theater-isms that have been essential ingredients in virtually every clean-sung progressive metal release since the early 90’s but there are also moments when Leprous flirt with the more extreme territories that the band’s Norwegian homeland has built its reputation on. Opeth is clearly the biggest influence on “Tall Poppy Syndrome” though & it’s the moments where they drift closest to their Swedish idols’ sound that I get the most excited about to be honest. The title track is a great example & I often caught myself wondering whether a good half of its huge appeal is due to a sense of comfort built on familiarity or nostalgia.

I’m not sure that Einar Solberg’s vocal hooks are as consistently potent as they would become in later years (particularly on their classic “Live At Rockefeller Music Hall” double album which is my all-time favourite progressive metal release these days) & this would see me holding back from fully engaged worship for a period. However once Solberg starts to nail those melodies I find myself getting dragged in pretty quickly & it was really hard not to let those few genuine highlight tracks guide my rating to be honest, particularly given that the rest of the material is so blemish-free & invariably displays an undeniable class in its execution. Eventually I just gave in as it was clear that my subconscious had strong enough feelings to warrant it. Above all else, it’s important to note that Leprous never forget about the importance of song-writing & composition within a progressive structure. In fact, they get the balance of technique & accessibility just right on this occasion & in doing so create a stunning piece of art that will stay with me for some time yet.

For fans of Opeth, Haken & Ihsahn.

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