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Long Night's Journey Into Day - Redemption

Lacking progression or editing

The biggest strengths of A Long Night and is being well-written riffs and vocals. In addition, the technical level is definitely in the top class, and if you love cleverly eighth and talkombinatoriske times, there is plenty to come after here. Instrumentalstykkerne due often to repeat the ingredients without bringing the songs new places to go and the average sanglængde of about six-and-a-half minutes, draws the whole album hard in the tail. There is not one single outright bad song on the album, so one should finally not hold back if you do not see a problem in the elongated solo work.

Progressive or technical

What must the metal include, before you can call it progressive? If you ask Mr Yli-Sirniö (which I did), it must have roots in the 70's the rock and their ideas to express themselves without being bound by a particular structure (I paraphrases). But you can't just express itself through prolonged and intense instrumentonani and just assume that the music as a result will have to be progressive? Of course, just take off the fat! American Redemption taking hold of their seventh studio album, A Long Night's Journey Into Day.

Overlange c-pieces

My introduction must be read with a twinkle in his eye, I actually really liked Redemption and A Long Night, and for that matter also several albums of Dream Theater, which is not exactly known for chastity. The question of whether A Long Night is really progressive concerns me also far less than the question of whether it is really good, so let's accept the wild guitar - and keyboardsoloer, sleight of hand trommefills, odd time signatures and sudden breach as "progressive" and instead ask two other questions: "Is A Long Night worth listening to even without the progressive elements?", and "making the progressive elements of the album stronger?"

If you – as far as possible – aside from the increased masturbation has a quite lyttervenligt album. As good as each song is based on a backbone of rocking riffs and well thought-out vocals, and the group obviously also good, to good music – regardless of the progressions – is based on good ingredients. "Impermanent", for example, opens with a brilliant (and technical) riff during a solo, and moves through well-chosen sounds is. "Little men" is still a winner, characterized by strong riffing and powerful vocals (and trite lyrics). So far, so good.

If you once again insert the aforementioned elements, you then better or worse songs? Often worse. Instrumental passages are provided in over half of the songs, but makes rarely any of the songs development. Mainly used the existing rytmefigurer, and since the songs anyway returning to the verse/chorus afterwards, they function only as an extended c-piece that draws the songs out. "The Eyes You Dare Not Meet In Dreams" and "The Echo Chamber" are examples of this, but in reality there are only two clear exceptions. "Indulge In Color" and the title song contains, in addition to the great technical work, interesting sounds is and expressive sangudvikling (it, as a "progressive" originally referred to).

Even though I'm bored me a little under instrumentalstykkerne, then there is the undeniably impressive work on the album. Versailles is on the sidelines with an aneurysm, but Nick has more than enough Van Dyk to, err, play for two, and he does it even on the keyboards along with Vikram Shankar. Chris Quirartes follow suit behind the drums with the corresponding bombastic fills, and Sean Andrews' bass playing is as expected in the top and audibly, in spite of the fact that the syvstrengede the guitars when well down in your bass domain.

>> Check the songs and lyrics here