Vox Occulta is a Latin phrase, meaning Hidden Voice. But when it comes to the work of Leprous frontman, and chief architect, Einar Solberg, his voice is very much at the forefront. Who can blame him? He has a truly absurd vocal range and a ‘head voice’ that’s every bit as powerful as his ‘chest voice.
This is Solberg’s second solo album, following 16 which was released in 2023. That debut record saw the Norwegian singer experimenting with a variety of styles, in unique and unexpected ways. I recommended that album to a friend of mine, who likes to try out new music while he goes running. Sadly, he really wasn’t a fan. He felt that the record was too dramatic and too emotional, too Over the top like one of the album’s singles implied. I won’t be recommending this album to him, as on this record Solberg takes the blueprint from the most cinematic songs from 16 and turns it up a notch or two. Unlike my friend, music that is supercharged with emotion is right up my street. Solberg always wears his heart on his sleeve, lyrically and musically, creating layered, textured and frisson inducing records. I feel his work, just as much as I hear it. And never more so than on this collection of eight new songs.
To make the album even more cinematic and expansive Solberg recruited the Norwegian Radio Orchestra, who play on half the songs on the LP.
“I want to be seen as the cinematic person in prog,” he declares. “I want to completely own that. This is a very cinematic album, and that’s what I was aiming at: to make it bigger, but also more fragile and emotional at other moments. You don’t hear the same amount of space in the music as you do in Leprous.” Einar Solberg.
I’ve seen Marillion and The Who playing familiar songs live with new arrangements for orchestral players. This is something very different from that. The orchestral sections here were written first, and the songs were then built around them. Vox Occulta is much more organic than just arranging existing songs for an orchestra or string section as a result. On the songs without the orchestra the same tone is present due to the addition of Bent Knee violinist Chris Baum.
The opening track on the album has been out for five months now, so I’ve had it in high rotation for some time. From its opening few notes, the sense of drama is there is abundance. Almost instantly the level of cinematic intensity reminds me of some of my favourite soundtracks and composers. From Hans Zimmer and John Williams to current favourite Ludwig Gorannson. Where 16 had less guitars and more electronic sounds, here there are no synthesisers which is a real departure from where Leprous has evolved to.
Having listened to the various singles that came out on repeat, my initial few playthroughs were slightly off kilter as I leant into the familiar songs too much. I need the discipline to wait for a full album, but I love his voice and songwriting approach so much I couldn’t resist. Medulla has been a staunch favourite at the gym for some time. It didn’t take long for the other songs on the album to get under my skin just as much.
The mix of an orchestra and guitars is powerful, and the choice of lead guitarist is perfect. Pierre Danel (Kadinja, Novelists) has a tone on his solos that’s reminiscent of Guthrie Govan (which makes the Hans Zimmer comparison even more pronounced) and Steve Rothery too. Not just technically brilliant but with added layers of warmth and texture that isn’t present if you are just shredding or noodling. On two of the songs John Browne (Monuments) and Ben Levin (ex-Bent Knee) replace Danel giving the guitars a more urgent, almost Trevor Rabin playing on a Jerry Bruckheimer produced movie vibe.
Some of Solberg’s trademark writing style is present across the record, albeit with more open space than on Leprous songs. There is some strong lyrical repetition, mantras that almost hypnotise you, like neural linguistic programming. Long slow build ups to big epic, frenetic moments (never more noticeable than on the goosebump laden Serenitas), choir like layered backing vocals and some musical stabs and codas that get under your skin and stay there. There’s also some screaming on a few of the tracks like early Leprous, that feels genuine and authentic, rather than forced for effect. The eleven minute epic Grex is probably the most interesting song overall, due to its sheer range and emotive power and a guitar solo that’s to die for. I did find the songs with Danel on lead guitar to be slightly more satisfying than when he was absent.
Solberg doesn’t write all the songs alone, although the lyrics are all his. Danel and Baum share writing credits with the singer on a song each and Espen Ramsli Fredriksen has a co-writing credit on all three orchestral songs.
In some ways this is similar enough to Leprous albums to feel familiar, certainly more so than on 16. But in other aspects this is an entirely different beast and the sign of an individual no longer feeling his way through what kind artist he is, instead confidently running headlong into what he does best. With his insane, almost unfathomable vocal range it’s wonderful to hear songs where he fully unleashes his abilities. Thankfully, he agrees.
“This is a long-term project, and I know that I will take it where I want to have it,” Solberg says defiantly. “I know from experience how to build something, and it’s through patience and determination. What I’m hoping is for it to create two branches of fans: one that prefers Leprous and one that prefers my solo project.” Einar Solberg.
I must say I am very firmly in both camps and enjoy Leprous and Einar’s solo work equally. After repeated plays this album is a very strong contender for my record of the year. I’m very much looking forward to hearing some of these songs live, when Einar Solberg comes to London in September. A full orchestral show would be a truly wonderous thing and I hope that might follow.
Lana Del Rey recently teamed up with David Arnold on the latest James Bond theme, for the new game First Light. When 007 returns to the big screen, I’m going to be the first one petitioning for Einar Solberg to be given the opportunity to weave his magic. I can’t think of anyone right now who would do a better job and this hour of music is the perfect audition piece.
TRACK LISTING
01. Stella Mortua (5:28)
02. Medulla (5:31)
03. Vox Occulta (7:58)
04. Liberatio (4:41)
05. Serenitas (6:44)
06. Vita Fragilis (5:27)
07. Grex (11:49)
08. Anima Lucis (7:05)
Total Time – 54:43
MUSICIANS
Einar Solberg – Lead Vocalist
Jed Lindgart – Bass
Pierre Danel – Guitar (1,2 4 5 7 & 8)
John Browne – Guitar (3 & 6)
Ben Levin – Guitar (3 & 6)
Keli Guðjónsson – Drums
The Norwegian Radio Orchestra (1,3,6 & 8)
Chris Baum – Violin (2,4,5 & 7)
ADDITIONAL INFO
Record Label: InsideOut Music
Country of Origin: Norway
Date of Release: 24th April 2026
LINKS
Einar Solberg – Website | Facebook | Bandcamp (InsideOut Music) | YouTube | X | Instagram
