REDEMPTION — This Mortal Coil (review)

REDEMPTION — This Mortal Coil album cover Album · 2011 · Progressive Metal Buy this album from MMA partners
3/5 ·
AtomicCrimsonRush
Here is a metal album in the same vein as the type of metal you may expect from Symphony X. Fates Warning vocalist Ray Alder certainly is as good as he was with that legendary band and his voice never falters from loud high register to a gentler cadence on the softer songs. The metal is driven hard by the dextrous lead guitar work of Nick Van Dyk. He also provides keyboards where it is needed. He is joined by the rhythm of guitarist Bernie Versailles. The final piece of the band is provided by the rhythm machine of Chris Quirarte on drums and Sean Andrews on bass.

The first thing one may notice from the outset is that the riffs have a proclivity to sound like Metallica, at one point the early Metallica sound is protuberant on the first songs on the album. The voice is always sparkling and resilient, every lyric is audible, and Alder injects passion and power into his performance. The lead breaks are a part of the overall sound and they are handled deftly by the fret melting work of Van Dyk. Certain lead solos are absolutely brilliant, with speed sweep picking, pitchy squeals and fast hammer ons, especially notable on 'Dreams From The Pit', 'Noonday Devil' and 'Departure of the Pale Horse' (the best song on the album).

The vocal work is astonishing at times, the high falsetto comes into play often and is never overbearing, rather part of the passionate thematic content, such as on 'Perfect' or 'Begin Again'. There is a type of concept on the album revolving around Biblical references such as the fall of the devil and temptation in the garden, and of course at the end Revelation is referenced in the awesome mini epic 'Departure of the Pale Horse'. The album seems to become more progressive in style the further into it especially with the ethereal intro to 'Noonday Devil' and the time sig structure of 'Let It Rain'.

The quieter songs are always an excellent balance to all the shredding. The guitars are downtuned to emit the classic galloping riff style often heard in 80s metal. The band have an approach to their music that is at times dark in content, (especially on the section where whispered voices tell the protagonist that they are alone in the dark and prayer is useless), but the sound is not offensive, due to easy listening vocals, and neither ground breaking in terms of innovation. The album will appeal to listeners with a penchant for Symphony X or Dream Theater, and that is perhaps my highest recommendation.
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