Review Summary: Old school vs. new school.
Progressive metal is a shadow of what it used to be. Some bands still hold on to the old values of the genre, yet so many have fallen to the idea that new equals good. The genre has been muddied to the point where the “progressive” tag seems to be added to any band with excellent guitar work. Progressive metal used to stand for something, and exceptional creativity was almost a guarantee. Enter Redemption — they play music along the lines of Dream Theater, yet so differently. Redemption may not have made it as big as some acts, but their music remains a classic offering for their respective genre.
Whereas Dream Theater tend to have long instrumental sections, and time signature changes with not much subtlety, The Origins of Ruin’s focus escalates melody work as the most essential piece to their elaborate mosaic. The result is an album that retains the technical instrumental skills that’s expected in the prog metal body, minus patchiness, and showing off just for the sake of it. That being said, time signature experiments come surprisingly natural to Redemption. Yet, choppy waters are absent whilst smooth melodies and machine-like drums are employed. It may sound like I’m just describing prog metal, but that’s the point:
Redemption just get it. Tracks are complicated and commanding with dazzling guitars and catchiness on offer always. There’s not much to dislike if you’re a prog fan. Nuance is in every facet of their creation.
The lead singer is easily the most memorable part of Redemption. His voice is fairly gruff and may more naturally fit classic rock, but I wouldn’t discount him. The singing style may almost certainly bring to mind Phil Collins or Peter Gabriel. His moody voice is perfect for these tracks about turbulent relationships, perhaps not as polished as Pagan’s Mind, Anubis Gate, or a variety of other prog metal bands — nonetheless effective, charming, and commanding. Redemption’s singer has a deep chest voice, powerful and unmistakeable in a crowd, with a natural tone that doesn’t require heaps of auto-tune. For his rough voice he also has a surprisingly smooth cadence.
One downside of The Origins of Ruin is the production. Both the guitars and drums can sound murky. Certain tracks have crystal clear quality drums with a definitively slapped snare, while other tracks are host to snares eaten up by riffs. Memory sounds like it was recorded in a different studio from its murkiness. The production issues are notable, but not usually glaring (thankfully). A larger issue is some of the guitar work, which can repeat itself. You’ll hear the same type of quick string picking prevalent in certain tracks, a pattern that becomes apparent. It’s another issue that isn’t that big, after all, tracks are continually shifting and changing as prog does.
Redemption’s style of music (especially in this album) is of pure poetry. It’s not simple ham-fisted metal at all, the songwriting tells a story and the emotional lyrics further set a mood. The way in which riffs and drums set the stage is impressive, but the presence of Redemption’s singer involves an unforgettable performance. Whereas other progressive metal bands feel cheapened or cheesy from theatrics, Redemption’s dramatic sound is thrilling.
You get what you pay for — in this case it’s impressive, immersive prog metal. Redemption may always remain in the shadow of Dream Theater (the fate of many a prog band), but Redemption have a consistently solid discography to go toe-to-toe with them. The Origins of Ruin remains one of their best albums, and other would-be prog metal bands should take note. Redemption is a purely professional band, and whether talent or evocative imagery, there is something incredible to take away from this album.
