I’m always interested in solo records from well-established musicians. You never know what you’ll get; you might find an entirely different side of their style. Einar Solberg recently released his debut solo album, and it has proven to be both similar and dissimilar to his work with Leprous. It’s called 16, and it released on June 2nd through Inside Out Music.
Einar is the vocalist and keyboardist for Norway’s Leprous. For this solo effort, he brings with him a host of guests. You’ll hear Einar on vocals and keys, Keli Guðjónsson on drums, Tor Egil Kreken on bass, Raphael Weinroth-Browne on cello, Chris Baum on violin, Ben Levin on guitar and rap vocals, Magnus Børmark on guitar, Tóti Guðnason on guitar and piano, Ihsahn on guitar and vocals, Star of Ash on samples, Asger Mygind on vocals and guitar, Pål Gunnar Fiksdal on trumpet, Runar Fiksdal on trombone, Nora Hannisdal on French horn, Jon Henrik Rubach on sax, Þórður Sigurðarson on church organ, and The City Of Prague Philharmonic Choir on vocals. That is one massive list, and many of these guests also helped compose their respective tracks.
This solo record has diverse expressions of genre. On one hand, it does sound something like the last few Leprous albums in how it rides the line between rock and metal while focusing on huge vocal moments and harmonies from Einar. On the other hand, some of the tracks aren’t rock or metal at all, there’s some rap on one track, and some of it is deeply subtle or slow-burning in nature. The guest singers really add to that with their unique styles, from haunting vocals to fierce harsh vox.
On top of that, three of the most important aspects of this album are Tor’s bass, Raphael’s cello, and Chris’ violin. Tor creates filling bass lines that really give this album some power and meat. Chris and Raphael aren’t just backing strings; no, their contributions are front and center, often being the lead instrument in the music. Some of the most memorable and spine-tingling moments on this album are due to their work interacting with Einar’s vocals.
I’m finding that I connect with the lyrics on this album, too, more so than I’ve ever connected with Leprous lyrics. The album is called 16 because that was the age when Einar first experienced some truly devastating events in life; he mentioned that from 16-19 he was hit again and again with huge life changes or losses. The album is about the ups and downs of life and of living, and so some songs are more hopeful while others are truly emotional. I was, perhaps, a bit younger than 16 when I realized that the world can be a cruel place of loss and pain, and so I identify with some of Einar’s words. I’m looking forward to learning more about the lyrics to each song.
Einar released a few singles. “Grotto” is one of my favorite songs of the year, no doubt, with its incredibly catchy chorus and varying shades of rock. “A Beautiful Life” is a bit more pensive, but I find it almost just as engaging. “Over the Top” revels in piano, cello, and a subtle soul, at least until the grand climax arrives. “Home” is a quirky and yet strangely alluring song with a rap section from Bent Knee’s Ben Levin and a true appreciation of groove.
As strong as the singles are, there are some other songs here that I love just as much. The opening title track is a slow burn, but I absolutely love the vocal melodies and cello. The closer “The Glass is Empty” is similar, though it is more based on a slowly growing stringed atmosphere with Einar bouncing emotional vocal lines off it; I think this is one of the more devastating songs lyrically, as well.
I think my two favorites overall are “Remember Me” and “Metacognitive”. The former has the same force of melody that “Grotto” has, as well as an incredible bass groove and a fantastic musical break once the potential energy transitions to kinetic. I absolutely love that song and its chorus. “Metacognitive” is a haunting track with eerie Einar harmonies and a textured sort of ambient space about it. The rising and falling strings that slowly emerge make it feel even more cinematic and almost uneasy, and Einar really brings it in the second half. I love it.
Einar is a fantastic vocalist, but he’s also a veteran composer. This album lets him stretch his legs a bit as he explores other genres, though he generally keeps the same core sound. Some of the ideas here might have been a little too “out there” for a Leprous release, and I’m so glad that were able to see the light of day still. This is definitely one of my favorite albums so far this year.
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Find Einar Solberg online:
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The PROG Mind 