The Fullness of Time is Redemption’s second album and is a huge improvement over the 2003 self titled debut in every way. The first upgrade in the music that I heard was that this time around the production is much better. Whereas the previous release had a somewhat dry production job, on The Fullness of Time the tone and clarity of the instruments is vibrant and full. There have also been some high profile lineup changes in this band since the last outing as well. Ray Alder takes over the mic and is the perfect front man to replace Rick Mythasian who provided session vocals on Redemption. Newcomers James Sherwood and Chris Quirarte have been integrated into the rhythm section and are now full time members of the band. I’m glad Nick van Dyk has found a stable lineup for his band, I for one did not expect a second release and if one were to surface I figured that it would just be another round of session and guest musicians. In a way I consider this (much like I do the same for Descent Into Chaos) the real debut of the band.

Despite my love for the Desperation Suite from the last album I felt that the debut was a bit too much in terms of literary metal. If you put the previously mentioned suite together with Something Wicked This Way Comes then the overwhelming majority of the albums lyrics are just a translation of the original story into a simpler Cliff’s Notes form. Because of this I didn’t think that Nick had really flexed his lyricist muscles when it came down to writing the words but this situation has been rectified for The Fullness of Time. This album tackles very deep and personal issues, the loss of childhood innocence, the destruction of a close relationship, the complexity of love, and finally the epic title track is a journey through one man’s deepest despairs and emotions and his eventual triumph over the turmoil inside of him.

The twenty one minute (broken up into four separate tracks) title track and the lovelorn Sapphire make the brunt of this album leaving only three songs that aren’t part of a huge epic. Out of these three Threads and Parker’s Eyes are some of the finest most mature Progressive Metal that I have heard. Threads opens the album with a ferocious intensity that is unmatched the entire duration of the cd. Before Ray even opens his mouth to show us that he is in the best shape vocally in his career, the music assaults the listener with a multitude of riffs and tasteful piano work. Nick has obviously been practicing his composing because this song sets a pattern for well structured arrangements and thought provoking lyrics. Again, one of the biggest flaws of the previous cd was that Nick filled the songs with so many words that the singing became oppressive and overbearing at times. Not anymore. Now each and every track has plenty of room to breathe and lets the musicianship of each member have its rightful place in the spotlight. One of Ray’s unique traits is that he can take what looks like a simple line and transform it into a complex vocal melody with ease. In Parker’s Eyes he does just that and steals the show. On the other hand during Scarred I find his verses to be quite difficult to digest and overall I find this the only lesser song on an album otherwise filled with solid numbers.

To try and fully explain, analyze, and dissect the next two songs, Sapphire and the title track would take a ream of paper and much more time than I have so I hope my brief summation of these particular songs is good enough. Both songs deal with human emotions including but not limited to, inner grief and happiness and as such both songs contain the most complex and engaging music on the album. Sapphire plays much like a relationship, there are numerous mood swings that reflect on the music and different emotional colors are painted on this sixteen minute canvas. A spectacular song and I truly enjoy this tragic love story that has been written. The title track closes the album and ends it in remarkable manner. Each segment of this four part epic is unique and the titles of each part gives away what kind of music is held inside. The highlight of this monster to me is the last installment, part four, Transcendence. I have to say that this is quite possibly the most inspirational song to come my way. This is the only time that the band lets go of their despair and give what sounds like an authentic feeling of true relief, the kind that only comes around when you are at your lowest in life and lifts you high above all that ails you. Because of this, Transcendence is the grand finale, the closing flourish, and the guys do not hold back. Soaring vocals, stirring orchestration and piano, beautiful guitar harmonies, gigantic solos, everything is unleashed on the listener to make the final moments of this album monumental and memorable long after the last note fades away into silence.