REDEMPTION - THE FULLNESS OF TIME - SENSORY
Here it is, the progressive metal band featuring Fates Warning man Ray Alder (replacing former Steel Prophet singer Rick Mithyiasin) and guitarist Bernie Versailles and the album is everything fans would expect. The band is clearly adept at its form. The riffs rain like autumn in Scotland, while the singing is in tune, albeit slightly flat or quasi-spoken on occasion. The songs themselves are not so much a combination, more like comprised of distinct parts, of progressive metal a la Dream Theater and melodic rock. The latter comes with slow parts, lush keyboards and piano and a generally commercial vibe. The progressive parts are hard, serious and generally befitting a band comprised of people who know what they want and what they are doing. The opening riff of the album and the song Threads are gold. The lyrics point towards the downing of the World Trade Centre. Sapphire is mostly slow. Tracks five through eight are the different segments of a concept called and flow and ebb like a roller-coaster. There is little that is linear with Redemption; isn't that what the fans of the genre love? The Sensory is fast becoming a force to be reckoned with a motto that should read something like "quality over quantity." - Ali "The Metallian"
REDEMPTION - THE ORIGINS OF RUIN - INSIDEOUT
Redemption is basically half of Fates Warning and for that reason alone is liable to receive some attention. It will not come as a surprise then that The Origins Of Ruin is a genuine progressive metal record with all the advantages and trappings of the sub-genre. In the last so many years the norm, and the gravitation, within that style has been singers who can sing and shriek higher and higher and hurl octaves and pitches at high heavens. Redemption’s new singer Ray Alder wants nothing to do with that trend, which is absolutely fine here, except his is the most one-dimensional performance on the record. The Fates Warning frontman’s performance, while in no way bad or unwelcome given the aforementioned trend, is limited comparatively and flat. Redemption’s musical performance, on the other hand, owes a lot to old Dream Theater. Be it the song Memory or Used To Be which are the more obvious elements to the more nuanced patterns on other tracks, the new effort of these Californians is a tad too unoriginal to merit a very high mark. So, why the 'good' rating for this album? Redemption is doing everything Dream Theater should be doing, but does not. The songs are heavier and even border the edges of Threshold territory on occasion. The Death Of Faith And Reason (some really suspect Christian allusions here), the start of Used To Be and The Suffocating Silence give the band ammunition to court heavy metal fans. On an absolute level, The Origins Of Ruin’s music is highly enjoyable, wonderful and reflects the musicians’ higher musicianship niveaus. Bonus points: does the music on Fall On You begin like a Rush track? Then concentrate on the fascinating cover photograph and its concept. - Ali “The Metallian”