REDEMPTION — I Am the Storm (review)

Album · 2023 · Progressive Metal

4/5 · 2023-03-20
lukretion

As a huge Evergrey fan, I was very intrigued by the announcement made in 2017 by US progressive metal band Redemption that they would be replacing their longstanding vocalist Ray Alder (Fates Warning) with the mastermind behind Swedish power/prog titans Evergrey, Tom Englund. However, when their first album together, Long Night's Journey into Day, was released in 2018, it didn't quite meet my (admittedly high) expectations. I felt that the band played it too safe and didn't fully take advantage of Englund's incredible voice. Now, fast forward to 2023, and Redemption has returned with a new album, once again featuring Englund on vocals. I Am the Storm, the band's eighth studio album, is released on March 17th via AFM Records, and it has completely pulverized all of my previous concerns and reservations about their previous LP.

I Am the Storm is one of the best “traditional progressive metal” albums I have listened in quite a while. When I say “traditional progressive metal”, I mean that Redemption’s sound has remained largely unaffected by the post-metal/pop/djent contaminations that many contemporary prog metal acts have embraced in recent years. Instead, this album stays true to the US prog metal sound that was established in the late 90s and early 00s by bands such as Dream Theater, Fates Warning and Symphony X. The guitars play a central role in the sound design, with an onslaught of riffs and melodic leads. The busy rhythm section is powerful, with thunderous beats, while the keyboards are used in moderation to add color and texture to the dense metallic soundscape. Meanwhile, Englund's vocals are skillfully woven in and out of these textures, allowing ample space for lengthy instrumental sections.

This is not to say, however, that there aren’t modern contaminations and exciting sonic experiments present. In fact, Redemption incorporate a diverse set of influences into their sound, including ferocious thrash metal, classic progressive rock (as evidenced by the Genesis/Peter Gabriel covers included on the LP), and more modern, post-rock-influenced atmospheric soundscapes (“The Emotional Depiction Of Light”). The end result is an album that manages to feel fresh and varied, while at the same time retaining a clear and distinctive sonic identity.

With I Am the Storm there is a clear sense that Redemption took risks in their songwriting that ultimately paid off in a big way. The different influences that have shaped Redemption’s sound over the years have been taken to new extremes on this album. The heavy tracks (“I Am the Storm”, “Resilience”) hit unashamedly hard and approach a degree of metallic ferocity that would not be out of place on a Nevermore album. On the other hand, “The Emotional Depiction Of Light” lies at the opposite end of the spectrum, with its delicate interplay between Englund’s voice and Vikram Shankar’s piano, building to a beautiful cathartic crescendo that tugs at the heartstrings in a way reminiscent of Anathema or Silent Skies (Englund and Shankar's recent atmospheric metal project). Between these extremes, I Am the Storm offers a plethora of sublime progressive pieces. “Remember the Dawn”, “Action At A Distance” and “All This Time (And Not Enough)” are longer pieces with complex structures, plenty of virtuoso playing, and subtle references to the classic progressive rock sound, reminding me of a slightly heavier version of bands like Spock’s Beard or Enchant.

The names mentioned in the previous paragraphs indicate that the album covers a lot of ground. Yet, it does so with finesse and sophistication, allowing for smooth and natural transitions between the different styles. I also feel that with the new material, Redemption have finally discovered how to unlock Englund's full potential. His performance on I Am the Storm is undoubtedly his best in a while. Although I adore Englund's distinctive and poignant voice, it's difficult to ignore the fact that in his recent work with Evergrey he has stuck to a pattern of similar melodies and cadences that may comfortably suit his voice, but can also make the songs feel monotonous. On I Am the Storm Nick Van Dyk’s diverse songwriting challenges Englund to step out of his comfort zone and experiment with his voice, sometimes with more aggression and other times with more melody. This is similar to the approach taken on Evergrey's early and highly progressive LPs, where Englund first established himself as one of the finest singers in the genre. It’s a joy to rediscover his versatility and tremendous class on this new record.

The rest of the band also delivers incredible performances, with Van Dyk’s showcasing his terrific guitar skills, ranging from heavy and aggressive to sublimely melodic. Shankar adds beautiful synth textures, while Chris Quirarte on drums and Sean Andrews on bass provide a solid and ultra-heavy rhythmic backbone. Special recognition also goes to Simone Mularoni (DGM) for his jaw-dropping and exquisitely well-constructed solos. His mixing and mastering jobs are also commendable, although the guitars may be slightly too prominent in the mix and the drums may be too busy, taking away some nuance from the other instruments.

In the end, however, the standout feature of I Am the Storm is the incredible quality of its songwriting. In contrast to Redemption’s previous LP Long Night's Journey into Day, there are no filler tracks on this album. Each song delivers some of the finest progressive metal you're likely to hear this year: technically intricate and fiercely heavy, but always exquisitely melodic. Prog metal fans should not overlook this album: I Am the Storm is Album of the Year material, and Redemption’s greatest artistic achievement yet.

[Originally written for The Metal Observer]