REDEMPTION

Progressive Metal • United States
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Redemption is at the forefront of the US progressive metal scene. Founded by guitarist / songwriter Nick Van Dyk, Redemption features legendary vocalist Ray Alder of Fates Warning, guitarist Bernie Versailles of Agent Steel, bassist Sean Andrews and drummer Chris Quirarte who is also in the progressive metal band Prymary.

After releasing their eponymously titled debut release in 2003 on Sensory Records (a release which featured guest appearances from Mark Zonder of Fates Warning and Jason Rullo and Michael Romeo from Symphony X), van Dyk made a significant statement with 2005's follow-up, The Fullness of Time, the first CD featuring Alder as a full-time band member and featuring the production of Tommy Newton (UFO, Conception, Helloween). Garnering acclaim from the press and the public, The Fullness of Time cemented Redemption position as an up-and-coming force in progressive metal.

In 2006 the band signed a multi-album worldwide deal with Inside Out
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REDEMPTION albums / top albums

REDEMPTION Redemption album cover 3.35 | 9 ratings
Redemption
Progressive Metal 2003
REDEMPTION The Fullness Of Time album cover 3.72 | 21 ratings
The Fullness Of Time
Progressive Metal 2005
REDEMPTION The Origins Of Ruin album cover 3.96 | 17 ratings
The Origins Of Ruin
Progressive Metal 2007
REDEMPTION Snowfall On Judgment Day album cover 4.10 | 29 ratings
Snowfall On Judgment Day
Progressive Metal 2009
REDEMPTION This Mortal Coil album cover 3.24 | 17 ratings
This Mortal Coil
Progressive Metal 2011
REDEMPTION The Art of Loss album cover 3.80 | 5 ratings
The Art of Loss
Progressive Metal 2016
REDEMPTION Long Night's Journey Into Day album cover 4.42 | 2 ratings
Long Night's Journey Into Day
Progressive Metal 2018

REDEMPTION EPs & splits

REDEMPTION live albums

REDEMPTION Frozen In The Moment: Live In Atlanta album cover 3.33 | 3 ratings
Frozen In The Moment: Live In Atlanta
Progressive Metal 2009
REDEMPTION Live From The Pit album cover 0.00 | 0 ratings
Live From The Pit
Progressive Metal 2014

REDEMPTION demos, promos, fans club and other releases (no bootlegs)

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REDEMPTION Reviews

REDEMPTION Long Night's Journey Into Day

Album · 2018 · Progressive Metal
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DippoMagoo
Sometimes, I’ll be excited for a new album not because of the name of the band releasing it, but because of something particular about the album itself. Either an interesting concept, a guest appearance or the inclusion of someone I’m a fan of, or it could just be that a hear an early single and it gets me excited. In the case of Long Night’s Journey Into Night, the seventh full length release from American prog band Redemption, I was excited as soon as I heard it would be the band’s first release with new lead singer Tom S. Englund, the mastermind behind Evergrey, one of my all-time favorite bands in the genre. I previously heard the band’s previous two releases, In This Mortal Coil and The Art of Loss, and while I found them both enjoyable, neither of them really blew me away initially nor stuck with me much over time. I was hoping the addition of Tom would help the band to finally realize their potential and produce an album that would hook me, and thankfully that’s exactly what happened, as Long Night’s Journey Into Day isn’t just by far my favorite Redemption album I’ve heard: It’s one of my favorite prog albums of the last few years!

Redemption has always been on the heavier side of the genre, with In This Mortal Coil in particular feeling like a very raw sounding prog album, so it’s no surprise there are some hard-hitting riffs on this new release. Alongside being notably heavy, the band is also known for having some outstanding musicianship, with guitarist Nik van Dyk in particularly being very technically proficient, and of course the keyboards and drums are excellent as well, with the former in particular being very prominent in this album, and adding some extra flavor to the music. Their music is known to be equal parts complex, emotional, introspective and accessible, and all of those definitely apply to Long Night’s Journey Into Day. Obviously, considering who the new singer is, it’s no surprise to know this album deals with some fairly dark lyrical themes at times, and the music itself is very atmospheric as well, with the guitar tone at times coming fairly close to Evergrey, but one of the biggest differences between the two bands is actually something both the name of the band and album would suggest. Where the former is very dark, with any hints of light being very short lived and outweighed by darkness, Redemption do heave their dark themes, but they often offer up some hope and optimism as well, and tracks like “Indulge in Color” and the title track of this album are a perfect example of that, with the mood changing subtly throughout the tracks, in a very effective way. While the tracks are often fairly lengthy, the majority of the tracks here are fairly direct and simple, with a few big instrumental moments to give them an extra edge. Obviously, the title track is much more complex, but it too has plenty of memorable melodies and hooks to grab onto, while at the same offering up plenty of details to look for on subsequent listens. Production is absolutely perfect as expected from Jacob Hansen, and this is definitely the most polished sounding Redemption album to date.

The one element of this album I was most excited for, was, of course, the vocals. While I enjoyed the two previous albums I’ve heard from the band, I found that Ray Alder’s vocals didn’t quite have the same spark there as they usually do with Fate’s Warning, and that was one of the reasons I was hopeful the change in singer would help me appreciate this band more. While I was initially concerned after hearing the lead single “Little Men”, as soon as I heard the full release I knew without a doubt Tom was given plenty of room to work with, and he excels just as much here as he does with Evergrey. He’s especially great at singing with emotion, and so the tracks where he has to alternate from themes of fear and doubt to themes of hope and optimism are where he especially shines, and he sings with as much power and emotion as ever. There are times where his voice gets a bit deeper than usual, and while it took some time for me to used to, these deeper vocals also sound quite good and definitely fit the rougher sound found on some of the heavier sections of this album.

One area where I was especially interested to see if the band would deliver was in the songwriting, as I found their previous two albums to consistently enjoyable, but they lacked anything truly memorable. Thankfully, that is not the case here, as there’s a nice mix between heavier, more instantly engaging tracks, as well as some more complex tracks and some subtler, more emotional tracks that take some time to open up. Everything is very well done, though, and the album, on the whole, is excellent. Opening track “Eyes You Dare Not Meet in Dreams” pulls a nice trick at the beginning, starting with some electronic effects that give the feeling it will be a rather slow and melodic track, but then the guitars quickly kick in and the music speeds up, turning into a fast, hard-hitting track with some power metal elements. It has fun verses, where Tom really excels, as well as a great melodic chorus, and the riffs and drums are energetic throughout, making it easily the most immediately engaging track I’ve ever heard from the band. At the same time, it has some really nice melodies mixed in as well, and it does still have signs of the band’s prog tendencies. It’s an excellent opening track, and one of my personal favorites on the album.

Next is: Someone Else’s Problem”, which again kicks off with an extended electronic intro, before the guitars kick in, though this track is a bit more relaxed. It still has some heavy riffs, but the keyboards are a bit more prominent here and there are some slight symphonic elements as well. It’s a more laid back track, moving at a mid-paced tempo, and it has a soft and very strong chorus as well as an excellent instrumental section in the second half. In similar territory is “The Echo Chamber”, which has an extended intro once again, though this time the guitars are out right at the start, and the track settles into a nice groove, moving at a slightly slower pace than the previous track. Again, it has a really big and melodic chorus, where Tom sings with a ton of emotion, and this is definitely one of the tracks where he shines the most. The track overall does a great job of alternating between heavy and melodic sections and is complex while still begin engaging and fairly accessible. Next is the heavier track “Impermanent”, a faster pace track where the guitar tone is especially dark and reminds me quite a bit of Evergrey at times, and while the verses are fast and fun, the chorus also feels familiar, in a good way, and Tom clearly excels again throughout the track. The instrumental section is quite intense, frequently shifting between guitars and keyboards, and overall it’s a fun and very engaging track, while still having excellent musicianship throughout.

The first two singles of the album are next and placed together, with the second single “Indulge in Color” coming first. This track absolutely blew me away the first time I heard it and is certainly one of the most complex and most beautiful songs on the album. It starts out softly, with some rather ominous sounding acoustic guitars and the soft voice of Tom, but after a while, it gets heavy, and turns into one of the most complicated tracks on the album, with a lot of layers to it as well as plenty of shifts in mood. Tom executes these shifts brilliantly, with the first half of the track being fairly dark, but by the end of the track the tone has become much more hopeful, and Tom sings the lyrics absolutely perfectly, helping to make it one of the most beautiful tracks I’ve heard from a prog band. Everything is perfect, from the vocals to the shifts in guitar tone and keyboard sound throughout, and once the music gets more upbeat later on, it just sounds incredible. On the opposite end of the spectrum, “Little Men” is a much darker, heavier track throughout, moving at a fairly fast paced. It’s a very impressive track musically and is very hard hitting, but I find Tom’s vocals don’t quite work as well as usual here, in large part because the vocal melodies feel a little bit lazy compared to on the rest of the album, but it’s still a fun track overall, if not one that sets a very favorable first impression for people who listen to the singles first.

Moving towards the end, the lone ballad of the album is “And Yet”, another track which shifts between moods very nicely, and it has some more very powerful vocals from Tom, as well as a nice guitar solo in the second half. It’s a more subtle track but still manages to hit quite hard in its own way. Next is “The Last of Me”, another faster-paced track with heavy riffs, a great chorus and excellent instrumental work throughout. It’s another fun and more instantly engaging track, which alternates nicely between being heavy and melodic. The next track, “New Year’s Day” is a bit more surprising, being a fairly light track with a strong emphasis on the keyboards. It almost feels like a pop/rock track at times, aside from the riffs and dark guitar tone. It’s certainly a more melodic track and one of the more accessible songs here, with a great chorus, as usual. Lastly, we have the epic 10-minute title track, which is definitely not one of the more accessible tracks here. It starts off softly, with an extended intro largely focused on vocals and soft guitar work, before the music fakes a sinister turn and gets much heavier. The track alternates between heavy and soft several times throughout, and goes through several mood swings, pretty much feeling like a perfect summary of the album on the whole. It’s a very complex track, which manages to throw in a ton of epic, technically impressive instrumental sections while still leaving tons of room for big vocal melodies, and memorable moments. It’s another very emotional track, and stands alongside the opener and “Indulge in Color” as one of my three favorites on the album.

I was cautiously optimistic before hearing Long Night’s Journey Into Day, and thankfully it managed to exceed my best expectations and has become both my favorite album from Redemption, as well as my favorite album involving Tom S. Englund in quite some time. It retains the complex musicianship and heavy riffs of past albums, while at times being very melodic and having some very powerful lyrics and amazing vocal melodies. It manages to be equal parts complex and accessible and is definitely one of the best prog albums I’ve heard in recent years. A must hear for any fan of Redemption or Evergrey and highly recommend for all prog fans in general.

originally written for myglobalmind.com: https://myglobalmind.com/2018/07/29/redemption-long-nights-journey-into-day-review/

REDEMPTION The Fullness Of Time

Album · 2005 · Progressive Metal
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UMUR
"The Fullness of Time" is the 2nd full-length studio album by US progressive metal act Redemption. The album was released through Sensory Records in June 2005. Redemption started out as the brainchild of main composer/guitarist/keyboardist Nick van Dyk and the debut album "Redemption (2002)" sounded like a project more than a real band effort IMO. There were lots of prominent guest appearences on that album like Ray Alder from Fates Warning on vocals (who sang lead vocals on one song) and Jason Rullo from Symphony X on drums. It´s not an album that impressed me much, so I approached "The Fullness of Time" with some caution. As it turns out my fears were unfounded. "The Fullness of Time" sounds much more like a band effort compared to it´s predecessor and is overall a much stronger release. Ray Alder is now a full-time member of the band and lead guitarist Bernie Versailles (Agent Steel, Engine, Fates Warning) has also opted to become a full-time member. New members of Redemption are drummer Chris Quirarte (Prymary, Roswell Six) and bassist James Sherwood (Prymary).

The music on the album is progressive metal. It´s rather traditional with heavy guitar riffs, keyboards, a tight and technically skilled rhythm section, and a skillful vocalist with a strong voice. There are influences in the music from acts like Dream Theater, Fates Warning (...well it´s hard not to sound like them when you share lead singer) and Symphony X (only when the piano kicks in. But when it does there´s an audible similarity). So far... so good. Nothing out of the ordinary there. What is out of the ordinary on "The Fullness of Time", is that the compositions are of an extremely high compositional quality for the genre and the musicians are some of the more skillful players in that genre too. The development that´s taken place since "Redemption (2002)" is impressive. Many progressive metal acts tend to overuse keyboards, but the use of keyboards on "The Fullness of Time" is very tasteful and helps create the hauntingly beautiful and at times desperate dark atmosphere on the album. The guitar riffs are heavy and powerful but cleverly played and sophisticated when that is called for.

The choice of Ray Alder as the lead vocalist in Redemption could have been a dangerous one (comparisons to Fates Warning will forever cling to Redemption), but his performance here is so strong that any critique of the choice of him as the lead vocalist will be hard to justify. The new rhythm section is also a great new asset to the band. Drummer Chris Quirarte shines throughout the album and a comparison to Mike Portnoy (Dream Theater, Transatlantic, OSI...etc.) is not far from the truth.

There are 8 tracks on the 57:28 minutes long album. The first 4 tracks are individual tracks but the last 4 tracks ("The Fullness of Time Suite") seque into each other and form a concept. As mentioned above all tracks are of a high musical, lyrical and compositional standard. "Parker´s Eyes" with it´s TV-reporter samples from the September 11th terrorist attack is for example a stunning goose bump inducing piece. The sound production by prolific Danish producer Tommy Hansen (who used to be a musician himself and play with The Old Man & The Sea) is professional, powerful and clear. A very suiting sound for the music on this album. Overall "The Fullness of Time" is a top notch progressive metal release and a 4.5 star (90%) rating is deserved.

REDEMPTION The Fullness Of Time

Album · 2005 · Progressive Metal
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Warthur
Eh, not really feeling this one. Redemption play a respectably competent variety of progressive metal which ticks most of the boxes without ever quite managing to excite me. Ray Alder of Fates Warning has a rather generic vocal delivery which feels a little soulless and lacking in personality - much like the drum work by Chris Quirarte, which is technically on-form but feels rather stiff and mechanical (there's points where I do have to wonder whether they weren't sneakily using a drum machine here and there). Keyboard flourishes from Nick van Dyk are pretty enough but feel like embellishments to what is otherwise a fairly uninteresting package. Those who are more keen on Alder-era Fates Warning might get more out of this than I do.

REDEMPTION Snowfall On Judgment Day

Album · 2009 · Progressive Metal
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dtguitarfan
This is the album that finally convinced me that I loved Redemption. After this album, I went back to their older albums and discovered I loved them too, but before this album I used to tell a good friend of mine who was a big Redemption fan that I felt like the band was 5 instrumentalists soloing at the same time. When I heard this album, I felt like I was hearing how the band had matured and cohered. I remember also that it seemed like every time I listened to this album, my favorite song on the album changed as I discovered I loved another song on the album. It is still hard to pick a favorite, though I would like to mention the song, Keep Breathing. This song was written by one of the two guitarists, Nick Van Dyk, about his daughter Parker, who has a degenerative disease causing her to lose her eyesight. The lyrics explain how as a father he can't stand to see his daughter in pain, but at the same time is amazed at her strength and bravery and tells her that it inspires him to go on. As a Progressive Metal fan, this doesn't happen to me very often, but the first time I heard this song I had to pull over as the tears began to flow. The whole album is powerful, and don't be surprised if your speedometer begins to climb as you listen to this album.

REDEMPTION Redemption

Album · 2003 · Progressive Metal
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Doomster
(Notice: Originally written by me to the ProgArchives on 7/15/11, with a few minor adjustments.)

This is the debut self-titled album of the American progressive metal act, Redemption. Redemption was formed in the early 2000's by guitarist and various instrumentalist Nick Van Dyke. Rick Mythiasin is the vocalist on this record (who sadly left sometime before the band's second album, "The Fullness of Time", was recorded), Bernie Versiallies on lead guitar, and Jason Rullo on drums (who also left the band sometime after, unfortunately).

This is a great debut to start off Redemption's career. The music is raw and powerful, with little signs of weakness. Specifically the keyboards on this record shine unlike on any other Redemption record, though at very little times they can be out of place.

The first song is a 4-track suite, entitled "Desperation", based on the novel of the same name by Stephen King. The first part is the heaviest and my personal favorite, with soaring guitar melodies and good drumming to back them up, as well as a lovely orchestral intro. When the vocals kick in, however, you realise the production isn't that great. The vocals are lovely and melodic, and one of the best parts of the album, but the subpar production does not do them justice. Part 2 greets us with a somewhat cheesy ballad, but it is still good nonetheless and has it's moments of strength. Part 3 starts off with a bang and some really outstanding keyboard work. It's probably the fastest song in the suite, if not the whole album, and the second heaviest in the suite. The vocals can get very agressive at times. The chorus is very beautiful and majestic, with lyrics concering a battle between God and Satan to claim the souls once and for all. Part 4 starts off almost as fast as Part 3, if not as fast. It has some great vocal melodies and very nice lyrics to boot, as well as more agressive vocals. It ends with a similar orchestral passage like that in the beginning of Part 1, this time backed up by the full band, ending the suite.

After that journey, we are introduced to our first separate track, "Nocturnal". This song is without a doubt the heaviest on the album, with heavy riffs and great keyboard melodies, as well as a soaring chorus. This is sure to please any fans of the heavier side of prog, such as I. It's just too bad it's so short.

The next track, "Window To Space", is the first out of two single-track epics on the album. Window to Space is the shorter of the two, being 13 minutes and 26 seconds long. The song starts with a somewhat creepy guitar riff accompanied by haunting chanting, and some very nice, soft progressive movements halfway through the first minute, followed by vocals with Rick Mythiasin at his best. The softness doesn't last long, however - 2 and-a half-minutes in we get some prog metal heaviness and more agressive vocals, though not as agressive as some in the previous tracks. The lyrics give off a very nice and hopeful feel to them, and overall this is a good half-ballad. Their is a somewhat odd guitar solo at 11 minutes, and the hopeful lyrics shine again. The song ends with the same acoustic riff as it started with.

The next track, "As I Lay Dying", starts off with a good building up with some nice keyboard melodies. The lyrics appear to be about an Atheist who excepts God within the last few minutes of his life. The best part comes in at 2 minutes with a nice chorus, "Will it all go on after I am gone?" The song ends shortly after. There's not that much to say about it because it isn't a very eventful song, but it's still a great song nonetheless. This song acts as a great opener to the closing song...

"Something Wicked This Way Comes" is, without a doubt, the highlight of the album. It's based on the novel of the same name by Ray Bradbury (which I reccommend anyone to read as I am currently reading it), and by the first 15 seconds of the song, what with it's haunting melodies and creeping vocals, you can tell this will be a ride. It is a whopping 24 and-a-half-minutes long, longer than any Redemption song to date. The first heavy riff comes half-a-minute in, and loops a few times before going into the full beginning of the song. The first 4 minutes or so of the song aren't that melodically powerful, but afterwards there is lots and lots of strength and melody behind every word Mythiasin puts into his voice as well as the music. At 15 minutes we get an awesome Iron Maiden-like galloping riff and some interesting vocals at half. We get some beautiful vocal melodies at 18 to 20 minutes, and finally leads up to the climax at 21 minutes with some of the most hauntingly melodic vocals in Redemption's entire career. After another 2 minutes we get the final stanza of lyrics, and the song ends quite happily.

It might come off as a surprise to some Redemption fans when I say that this is, I think, their best album. The vocals and instrumentations are beautiful, exotic melodies, and haunting vocals with surprisingly good lyrics. Mythiasin is better than Alder in my eyes and adds more atmosphere to Redemption's work. A quintessential record - highly reccommended to fans of progressive metal.

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Colt wrote:
more than 2 years ago
One of the forerunning Prog Metal bands of today - awesome band.

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