The Fullness of Time

Chronique

First impressions would have many pegging Redemption as obvious Dream Theater disciples, what with their melodic brand of metallic prog, and the vocal similarities between singers Ray Alder and James LaBrie, respectively. Wait a second -- Ray Alder! The veteran heavy metal vocalist whose '80s and '90s triumphs at the head of Fates Warning probably taught LaBrie a trick or two? Well then, perhaps those first impressions and allegations of "disciples" were indeed hasty, and it's time to judge Redemption's second opus, 2005's The Fullness of Time, solely on its very own merits. Which is as it should be, of course, and what immediately becomes apparent listening to complex but memorable tracks like "Threads," "Parker's Eyes," and the 16-minute colossus "Sapphire" is the colorful palette (encompassing classic, thrash, power metal, and all of the infinite possibilities of old-school prog) at the disposal of guitarist, keyboardist, and songwriter Nick Van Dyk. Arguably peaking in the quite astounding "Scarred," his dazzling keyboard solo actually makes one marvel that he can even pick up a guitar, never mind shred it as well as fellow axeman Bernie Versailles -- also of Fates Warning fame. Taking up 20 minutes and the album's second half, the title track comprises four separate movements chronicling the process of coping with betrayal using very fitting lyrics and music. From the fits of "Rage," to the depths of "Despair," to the eventual feeling of "Release," and finally the act of "Transcendence," Van Dyk's songwriting doesn't always manage to connect the dots with as much efficiency and grace as he did on the album's unlinked first half; but the innumerable emotions conveyed (and notes played!) undoubtedly mount up to an epic impressive enough to pass muster with most any discerning progressive music fan.

© Eduardo Rivadavia /TiVo