Considering the low profile they maintain, Leech is a surprising band. Although almost unheard of outside of Switzerland, the three original members have been playing and recording together since 1995. After a six year break, the group reformed in 2006, joined by a new member on synthesizers and hard at work sculpting their third album, The Stolen View. The type of music the band associates itself with has a thousand labels: experimental, psychedelic, post-rock, avant-garde, etc. Still, it is a style where it is increasingly difficult for bands to really stand out and develop “their own sound.” That explains why this record comes as such a surprise -- not only does The Stolen View sound good, but it also sounds new. Granted, Leech’s music isn't revolutionary and it isn't going to turn the whole movement on its head, but for those thinking they’ve heard every last idea an instrumental band might have, this is an album that might catch you off guard.

Leech's music is slow and melancholic at times. The strongest quality of the band’s sound is the string work; the guitars of brothers Urs and Marcel Meyer blend to perfection, always leading the rest of the band. Although at times the need for a bass track is felt, they make that absence almost unnoticeable by intricately balancing each other's instrumentation while Serge Olar handles the rhythmic parts in a discreet but efficient manner. 

The album spans four tracks separated by two glitchy interludes. Opener “Silent State Optimizer” somehow doesn't fit the rest of the record; the synthesizers are a lot more dominant, and it's a bit faster and more theatrical. Yet, it is far from being a bad choice to begin with, as it sounds lively and the transition with the next track is orchestrated with brio. “The Man With The Hammer” and “Inspiral” are the two highlights of the record. In these two tracks, similar in structure, the Meyer brothers surpass themselves and give some of the most interesting double-layer guitar themes I've heard recently. The tracks both start out in a calm, blue atmosphere and slowly progress in intensity, steadily growing in volume and giving a sense of depressive aggression until it explodes into a harsh, violent climax. The change of the mood of the song is the point in which Leech's drummer excels. He knows how to subtly change his section, measure after measure, to give the guitars a perfect support to express the evolution of the track.

The album closer, “Totem & Tabu,” is somehow a bit disappointing. The beginning is way too long, and the guitar parts aren't as intricate as in the rest of the album. In consolation, the synths in this particular track sound amazing. The last few riffs of the song are quite pleasant though, and the listening experience ends on a good note. 

Overall, The Stolen View is an entertaining album worth more than a few listens. In places, it reminds me of The Mercury Program's From The Vapor Of Gasoline through the grimy, melancholic guitar work from the Meyer brothers, with a slower sound and a less jazzy approach. Leech deserves more than a local spotlight. With The Stolen View they've proven their sound is both unique and of interest.

-Samy Bennaoui