Some albums just connect with you immediately. Einar Solberg’s second solo record releases on April 24th through Inside Out Music, and I love every second of it. It’s called Vox Occulta.
Einar has made a name for himself as the well-dressed frontman of Leprous, but back in 2023 he offered a unique solo album called 16. It mixed genres and was overall a quirky and good offering. This new album is quite different. With his vocals, keys, and piano, he brings Jed Lingat on bass; Ben Levin, Pierre Danel, and John Browne on guitars; Keli Gudjonsson on drums; and Chris Baum on violin. Possibly the biggest presence on the album is The Norwegian Radio Orchestra, however.
The music here is progressive metal, heavier than I’ve heard from Einar in some time. It is just as orchestral and cinematic as it is heavy, though. Four tracks feature a full orchestra and feel quite theatrical, yet also gothic and shadowy. You’ll hear plenty of dark riffs right alongside spellbinding orchestrations.
Yet, that doesn’t quite describe this album fully. It’s not just the tools used, it’s also Einar’s unmistakable vocals, ranging from towering cleans to powerful harsh vox. It’s also the stream-of-consciousness writing, some songs not really having choruses, yet all of them oozing with emotion and expression. Einar has really found and embraced himself as an artist and performer, and it shows.
Vox Occulta has eight tracks, and they are all wonderful. This album might suffer slightly from releasing too many singles, I will admit. The first half contains three of them. The opener “Stella Mortua” immediately connected with me with its slowburning cinema and explosive climax. “Medulla” is probably my favorite overall (though it’s difficult to decide) simply for how dark and sinister it sounds. I love the grooving guitars and impossibly catchy chorus. It’s infectious.
The title track follows and is a lumbering, theatrical affair. The guitars are here, but they’re basically support for the cinematic magic. I love the hovering instrumental portions and interludes. The third single comes next, “Liberatio”, which is also a favorite. Its unnerving strings build such an atmosphere, one that leaves you wondering, but then the guitars and chorus bring in a terrific, instantly sing-able element that launches the song into the stratosphere.
Now, the second half has some interesting pieces. “Serenitas” is one of the quiet songs on the album. It is mostly a quivering, floating piece with Einar emoting quite potently. I love the last couple minutes as it rises into a guitar solo and harmony. “Vita Fragilis” is yet another single, this one having no chorus, leaning into the harsh vox, and proudly indulging in pure theatre. I love it.
The last two tracks are truly beautiful. “Grex” is the most cinematic song on the album, not in theatrics, but in harmonious storytelling vibes, sheer space, and moments that make you close your eyes and absorb them. I love the delicious guitar solos throughout and the fiery last minute that is such a contrast with the rest of the eleven-minute song. The closer “Anima Lucis” is Einar and strings, emotions on full display. It is utter theatre, airy and almost spiritual in presentation. It’s a perfect ending.
When I heard the first single, I thought Einar was simply trying to revisit early Leprous sounds. But Vox Occulta is so much more, and though it hit me immediately, I continue to mine new treasures with each listen. Einar is offering us a work of art with a steady vision, a momentous experience that will stay with you.
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The PROG Mind 