History & BiographyProgressive metal super group Redemption was founded in 2001. Singer Corey Brown, Agent Steel’s Bernie Versailles, founder and guitarist Nick Van Dyk and drummer Jason Rullo were early members. James Sherwood would join on bass. However, the bass on the debut, which was issued on Sensory Records, was played by Van Dyk. Mark Zonder of Fates Warning was a guest on the debut. Sherwood would be heard on the second record. Fates Warning’s Ray Alder and Symphony X’s Michael Romeo were guests on the record that was inspired by Ray Bradbury and Stephen King novels. The former man would take over the vocals for the second record and a new rhythm section would also be in place. The group toured with Dream Theater in 2007. Nicolas Van Dyk, who was also a corporate strategy employee at Disney, was diagnosed with multiple myeloma cancer in 2008..
The group switched to InsideOut Music for the third record, which was also working with Fates Warning, and signed for three records. A live CD and DVD was issued in 2009. It was filmed at ProgPower USA VIII in 2007. Snowfall On Judgment Day came in the same year and added a keyboardist. The man was gone by the next album only to re-appear several years later. This Mortal Coil was recorded and mixed by producer Neil Kernon. Keyboardist Hosharian had re-joined the group with the intention of touring Europe with the band, but withdrew suddenly and the band used backing tracks instead.
The Live From The Pit CD and DVD was on Sensory again. Versailles exited the band due to an aneurysm as of 2014. The Art Of Loss was on Fates Warning’s other label, Metal Blade. It had taken time to release it as Versailles was ill, Fates Warning was busy and the label had changed. Long Night’s Journey Into Day had Tom S. Englund of Evergrey front the band. Alive In Color was on AFM. The band had signed with Evergrey’s label in the same year as the live CD. The CD and DVD was recorded at ProgPower USA in 2018. It was the band’s first show with Englund.
Chris Poland formerly of Megadeth often contributes guitar parts.
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”