REDEMPTION

How to evaluate a subjective human expression such as music? This is a very complex subject, and in benefit of synthesis, I'll make a very simple and partial approach to it. If you think of music by its quantity, you'll measure the songs by the number of harmonies (or of complex harmonies) and/or instruments present on its execution. I do observe that many listeners do absorb what they hear mainly by these criterions. But I also do notice a bunch of folks that consider the quality of the harmonies, at least as much as the quantity; or even more than the quantity. Now you must be thinking: what does this have to do with this album? Ok, then, I'll go straight to the point: here, quality is the mark, much more than quantity. I'm not saying in advance that this release has a high standard quality (it has, most of the time). What I'm sating is that you won't here complex harmonies and constant changing of key signatures and arrangements, but the tunes, phrasings and singing are very immersive. Before jumping to the album's review, let me give some examples of songs where quality defines them: Rush - The Trees; Yes - Soon; OK Goodnight - The Raccoon (and the Myth).

One of the peaks of this work are the performances on the acoustic guitar. There's even a track - the 4th - that has only this instrument. And it's wonderful. Another highlight are the vocal harmonies, very elaborate and sophisticated. On my first hearing the tones of the singing didn't please me, but that quickly changed on further auditions, because I could pay more attention to the versatility they develop on this topic, along the record. Besides, I appreciate another characteristic of their vocals: the originality. This is because most neo-prog albums that I'm aware of usually show difficulties to detach from other known singers. To say it directly, generally they look similar (in a negative way, IMO) to Peter Gabriel, Fish and/or Phil Collins. On this album this is definitely not the case, fortunately. They have their own style, and when it seems to some other vocalist, it's not excessive.

The first track is centered on a phrasing, initially assumed by the piano, and therefore executed by the synth and other instruments. Looks boring, huh? Not for me, because of their ability to make great changes on arrangements and also for the very fluid and consistent way they exchange and combine instruments along the composition. Notwithstanding, on the half of the song, they go for other phrasings and ideas, what brings more richness to the song.

The rythmic section of the next track starts quite exaggeratedly simple, but delivers good vocal interpretations and arrangementt. Guitar is a bit more heavier, turning it to a more enjoyable performance. Not so far, harmonies become more interesting and dynamic. Nothing brilliant, but at least its attractive and genuine. On its last third part they assemble with a lot of intelligence the previous ideas, delivering remarkable musicality.

The introduction on the 3rd song has a cheesy riff on the piano/synth, with the poppy tunes on acoustic guitar, and a what-a-marvelous-world vibe on vocals... what can I say? Tedious. It's a tough one to hear. But don't give up, because on its last third they get phantastic. Almost saves the composition of being the less inspired of the album.

Very serene and inventive tunes, combining perfectly rythym and melody, are made by the acoustic guitar on the next track. This kind of music is one of the proposals from 70's prog rock that I truly miss on contemporary Progressive rock. It's very nice when sometimes an acoustic yet elaborated song comes along. Outstanding!

Some brief psych noises give the start on 5th track. Soon some very intense and lusty harmonies are executed, with excelent phrasings on drums and a penetrating guitar. Vocals fit incredibly well, and synths contour gently and emphatically the other instruments. Later on, great piano tunes find its space on the composition. On this point the listener will probably conclude that this is the most complex song of the album, and he's right. There's a lot of changes on arrangements, cadences and on what instrument(s) take(s) the leading role. Coherently, this is the longer track, with 11min. Closer to the end, they add some pompous parts.

The concluding track is very short, less then 2min. Starts very intense and fast. A killer execution on keys and guitar. Suddenly it becomes very slow. This transition is strange, doesn't fit. Another track less stronger.

Musically I'd give them a 3.8 stars. But in face of the fact that they emphasize on quality rather than quantity, something I miss a lot, I'll raise them to a 4.2.

The Redemption of the Prophet

Cheat The Prophet, formed by brothers Matt Mizenko (bass, guitars, keys, vocals) and Todd Mizenko (guitars, keys, vocals), plus longtime friend and collaborator Jamie Boruch (drums, percussion), were once part of prog acts Ars Nova and Nepenthe. Now, with Redemption, they're back with a mix of old-school progressive ambition and a more modern neo-prog sound. Think IQ, Porcupine Tree, Steve Morse and others great neo acts . Despite the variety of influences, the band sounds really personal.

Redemption is six tracks long, just under 38 minutes, but it's packed with rich musical textures analog keyboards, strong bass lines, great guitar work, and a very interesting drumming. The production also has a fresh, modern sound.

With Redemption , the band shows their experience in the classic prog now on the neo prog scene. Delivering decades of progressive and alternative influences but never fall into nostalgia they create something different. Cheat The Prophet takes risk with real emotional and artistic payoff.

The album opens with "Chaos," a great short-prog song full of everything we love catchy melodies, gymnastics keyboard solos, awesome bass and guitar tones, and energetic drumming. It keeps you alert and wanting more.

The second track, "Bad Bitch," tells the story of a bad, dirty woman. It has a bit of an '80s pop vibe, but it's still grounded in that strong neo-prog sound. The keyboards, drums, guitars everything is tight and well done.

"Marvelous World (Losing Season)" is the third song not my personal favorite, but still a solid track. It has a nice middle section with vocal harmonies and strong keyboard work. Acoustic piano and guitar lead most of the way, and in the final minute, finally explodes with the sound we've been waiting for.

"Paper White" (11:16) is an instrumental acoustic piece, with a bluegrass feel. It's played on a steel-string guitar in a Leo Kottke kind of style. Very cool and fits surprisingly well in the album.

The final track is "Whisper," a long 11-minute song in eight parts: i. Numbers ii. Queen of Diamonds iii. 1954 iv. Fever Dream v. Louder Than Bombs vi. Mommy Dearest vii. Revelation viii. Glory

This is my favorite song on the record. It starts with a mellotron and takes you on a kind of hypnotic trip, with sudden changes. It's about war and a turbulent life. The band sounds amazing here the playing is full of emotion, and the arrangement has a lot of great moments.

The bonus track, "Zaff's Fez," wraps things up. It's a killer instrumental that shows the whole band playing full force. A great closer.

Redemption is a strong album. The songs are well written, and the instruments are used in a smart way that lets the melodies evolve naturally. For me, "Whisper" is one of the best songs I've heard in a long time. Maybe the only weak point is brothers Mizenko lead vocals not too bad, just flat in places but it doesn't take anything away from how good the album is. If anything, it gives it character. Another standout for 2025.

"Chaos" starts with piano before the sumptuous direct air on a Wallace poem as a base, expressive pad on the velvety keyboard, the laid-back vocal eyeing the phrasing of Nick from PENDRAGON. The heavy riff arrives, surprising prog metal, allowing a beautiful drift at the end of the chorus; its sound flirting with SAGA in the distance and RUSH closer. Final arpeggio soaring then nervous for an abrupt end. "Bad Bitch" changes direction by offering a catchy rock, with an alternative reminiscence, a zest of Steven WILSON and the colorful rock of Franck CARDUCCI. The latent break with the dull riff, the sound searching and an atmospheric keyboard solo then another guitar making the title fly. Prog metal takes shape with this redundant riff, these spatial notes. A finale in the great prog rock tradition bordering on heavy on the typical rhythm of ENCHANT, to signify the symbolic hatred of the singer. "Marvelous World (Losing Season)" crystalline piano, acoustic arpeggio leading to the marshmallow ballad swelling like a distant wave, an easily accessible crescendo with the haunting solo at the end, a touch simplistic.

"Paper White" with an assertive arpeggio worthy of YES, crystalline guitar notes; simple and addictive, the urge to pick up your guitar and mime; delicate like a rural interlude. "Whisper" closes with a marked prog intro, sound effects; the Mellotron and vocals hit the heartstrings, the heavy riff suddenly breaking the melodic aspect before launching into a Kashmiri air. A piece in eight musical tableaux, an intoxicating musical fresco featuring vocal highlights, a text on politics since the 1980s, the end of the USSR, apartheid, Ukraine, and a beloved film, mantra- like rises, and the languid sound of the guitar used as a weapon of spleen. The break reminds me of Steven Wilson, then Barclay James Harvest for the vocals and keyboards. The progression to religious choirs, the symphonic prog metal rhythm, the velvety keyboard with Dan as a guest amplifying the symphonic space, pricking up the ears very favorably. A childish cinematic outro nostalgic for our memories, have you found the eggs?

"Zaff's Fez" is a bonus track, a short track that starts off with a bang, with Derek Sherinian-style keyboards ending with a languid jazzy piano fade-out and a nod to a friend.

Cheat The Prophet is reborn after 20 years, offering a distinctive prog rock sound that moves them away from their original style, progressing towards a captivating, modern sound, all to their credit. Some reminiscences and complex arrangements for a genre that amalgamates ambient, metal, alt-rock and compulsive synths. (3.5) Originally on Progcensor.