"Say hello to your newest musical masturbation fantasy." This is how Outburn Magazine (USA) chooses to introduce Haken. The UK's PROG Magazine describes them as "one of the brightest young bands in the progressive sphere right now."

This London-born sextet are the "prodigiously talented youths that will benefit prog." - PROG.

"Greatness is definitely within their grasp." - PROG

In a time where progressive music is rising and there are so many options available to new listeners, it takes
serious guts and personality to turn heads anymore. Norway’s Leprous has done just that in recent years, and it
has been such a joy to watch them emerge into the limelight of awareness within the progressive community. It
is no wonder, however, as Leprous continues to mature and to cling ever closer to their hearts when crafting
new music.
Leprous is a visionary band that defies genre labelling, not just in the style, but also in their attitude. After
releasing “Tall Poppy Syndrome” (2009), “Bilateral” (2011) and “Coal” (2013); these artists released their monster
album “The Congregation” (2015) that spurred high acclaim and an enormous world tour. Leprous, however, is
not a band that takes success resting on their hind quarters, as they believe in pushing boundaries, learning from
their mistakes, and following their instincts. They are prepared to release their new album “Malina” this summer,
and it is set to offer a left hook to the progressive world.
Of all things, Leprous is not a band that can be caged into any single genre. They aren’t interested in any of that.
What they do believe in, however, is pursuing their artistic passions and following wherever their hearts may
lead. They have been celebrated for years for their evocative mix of polyrhythmic grooves, melancholy
atmospheres, melodic vocals, and biting lyrics; but their new album represents a pure stream of consciousness
in the changes they have made to their sound. It’s in this imaginative style of composition that the band finds “a
lot of the beauty about composing and creating: There’s always movement.”
The band, however, found their instincts leading them away from simply polishing the melancholy progressive
metal of “The Congregation”. They followed their conviction about creating music that feels right in the moment,
which they consider to be the core of all true musical expression. In the process, Leprous has become a band
that is “more accurately defined as a rock band than a metal band”, though even that label is unsatisfactory and
binding to them. This is music that expresses their souls, embodies their passion, and confirms their genius.
They believe in making quality music that speaks to who they are right here and right now.
About these changes, the band had this to say, “This album is the perfect example on how you can start with a
vision and ending up with a result that has nothing to do with the original idea. The writing of the album started
out with the idea to perfect the sound and working method we began with on "The Congregation". While the
writing process was actually pretty similar (30 sketches, elimination process etc etc) we gradually started noticing
stuff with the sound and the songwriting on the previous album that we wanted to sound different. Gradually we
realised what needed to be done. This album needs to sound more alive, more organic and more dynamic. The
longer into the process the more obsessed we got with this idea”.
Release Date: August 25th 2017
“Malina” is set to be a change in direction in more ways than one. Right away, you can see that the cover art is
more colorful and more mysterious than they’ve ever had in the past. The album itself has been nothing short
of a labor of love. The album took 4 times as many days in the studio to record as past albums, as the band was
certain that the sound they wanted would be found in the recording studio, and not in a digital mask that would
be applied during the mixing stage.
With this concept in mind, David Castillo of Ghostward Studios was brought in to produce and record the album
to meet the band’s demands for a specific sound and the then went with Jens Bogren again to mix the album.
The band was however adamant about what this album needed to be, “We wanted it to sound like it sounded.
We did not want to "digitalise" the sound.”
The members of Leprous have poured their blood, sweat, and tears into the process of creating “Malina”.
They’ve challenged themselves to mature and grow in ways they themselves did not expect. It’s because of these
amazing qualities that the band is set to conquer the music scene once again in 2017. Combining a new album
with a fresh sound with their upcoming, biggest headline tour yet Leprous is ready to bring their passion and
badass energy to fans and new audiences worldwide this year.

Bent Knee is unlike any band you’ve ever heard. Its borderless sound combines myriad influences from across the rock, pop, minimalist, and avant-garde spectrums into a seamless, thrilling whole. Its new album Land Animal—Bent Knee’s first for InsideOutMusic/Sony—takes its sound to a new level. It offers a suite of songs full of addictive hooks, lush melodies and enthralling twists and turns that capture the reality of life in the 21st Century—a reality of people and nations in the midst of tumultuous change. It also communicates a ray of hope and desire for listeners to embrace the fact that they’re not alone in their struggles.

“The silo-smashing Bent Knee’s unique mix is equal parts ingenuity and deliciousness,” said Jim Fusilli of the Wall Street Journal in 2016 when he first heard the group. “Bent Knee breaks new stylistic and temperamental ground,” declared Steve Smith of The Boston Globe. Other media outlets worldwide have reacted with similar enthusiasm, including NPR and the BBC, which have playlisted the band.

Bent Knee formed in 2009 as a democratic collective determined to push the boundaries of pop and rock. Lead singer and keyboardist Courtney Swain’s soaring vocals are instantly arresting. Guitarist Ben Levin is one of the most dynamic and versatile guitarists around, shifting between the raging and raucous to the sublime and meditative. Bassist Jessica Kion and drummer Gavin Wallace-Ailsworth combine into an enthralling rhythm section that’s equal parts powerhouse and nuance. Violinist Chris Baum’s kinetic violin work provides drama, grace and intrigue. World-class producer and live sound designer Vince Welch weaves it all together with a captivating, expert touch.

The band has gone from strength to strength in recent years. Its last two albums, 2016’s Say So and 2014’s Shiny Eyed Babies, were hailed as significant art-rock achievements. The group has performed hundreds of shows across the world to date. During the fall of 2016, the band played for ecstatic audiences as an opener for the U.S. leg of The Dillinger Escape Plan's farewell tour.

With Land Animal, Bent Knee has elevated its storytelling ambitions to create narratives that reflect and refract the currents we’re exposed to in the news every day.

“We’re at this bizarre point in history when our species can almost actively play God,” explained Baum, when discussing the themes running through the album. “We’re getting closer and closer through communication and technology. On the flip side, we still have many primal urges that have yet to evolve. There’s a strange balance between our technology and our biology that’s tremendously difficult to find. Land Animal explores where those animalistic urges come from and how we can harness and transform them to create a better reality.”

“The album has all kinds of songs about struggle,” added Levin. “We look at global warming, family strife, technology-mediated relationships, racism, and societal polarization. Each song is imbued with a dichotomy between who we are now as a species and where we’re going.”

As the band hits the road in support of the album, it intends to explore the diversity of thought amongst its ever-growing audience in a world where it's increasingly easy to live inside one's echo chamber of ideologies.

“I think our music is powerful and capable of uniting people with different perspectives,” said Kion. “They may think about things differently, but they’re there together, part of the concert. The fact that music and art can bring people together in that way is a really significant force that’s needed right now.”

“We haven’t made a political album with Land Animal,” said Wallace-Ailsworth. “However, it’s definitely motivated by the difficult state of the world at the moment. If people are able to take some comfort in our music or create dialog through it, those are great things for us.”

Like the band’s previous work, Land Animal is full of fresh, sophisticated arrangements and beautiful vocal harmonies, but it’s also its most direct statement to date.

“It’s a really juicy and immediate album,” said Swain. “With our previous album Say So, I think it took people a few listens to absorb its themes. That’s not the case with Land Animal, which delivers more instant gratification.”

“We tried to balance that with an appealing narrative arc,” said Welch. “The album starts with ‘Terror Bird”, a song about individuals and communication issues and ends with “Boxes”, a song that explores the fact that we’re all marching towards our own demise, so we better make the most of the time we have. Land Animal is an epic journey.”

At the end of the day, the band believes strongly in music as a force for positive change and delivering ideas no other medium is capable of.

“We believe music is the most efficient way to get a point across,” said Baum. “The only way to cut through the noise of a confused, globalized world is to create something that speaks directly to the soul, and that’s what we hope we’ve done with Land Animal.”

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