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Monday, January 5, 2015
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Redemption is the latest album by Polish horde Preludium. It was released at the very beginning of 2014 (indeed, almost a year and a half ago) but there’s a reason why I still want to write a review about it, besides my unconditionally urge to promote both band and label. When talking about the latter, well, Transcending Obscurity gets run by Kunal Choksi, one of the most sympathetic and devoted persons I met lately. He once wrote me about specific struggles in his life (sad and bad, painful things; let’s call it the nasty side of human life), as well as his strength to go on, partly inspired by one of the (many) (honorable?) sri’s in India, Sri Sri Paramahansa Yogananda, who sort of developed / popularized (I know this does not sound respectful, but consider this as a pejorative subject) the ancient Kriya Yoga techniques. And here it comes: the lyrics on Redemption are written by Kunal for this band exclusively, totally inspired by the teachings of sri Yoganandaji. No more war-themes, yet words of meditation and spirituality, visions of life matters and post-dimensional subjects…

The quartet (singer / guitarist Lukasz Dziamarski, bass player Marcin Deszcz, guitar player Jan Skowron, and drummer Piotr Ungeheuer) brings that specific mood that characterizes the Polish scene to the core. This means: a monumental and massive rhythm section (what a murderous bass lines and brain smashing drum patterns), technical and well-balanced riffing and melodious leads, and deep-throated grunts. This also means: a colossal sound, a production beyond / behind humanity. It also means: quite some variety in speed, with both blasting (the better part, evidently; we’re still talking about a Polish combo, all right!) and some slow-driven parts, and everything in between. And it also means: a lack of originality. But who cares about the latter? Actually, some pieces, like the ultra-pounding opener Soul Torment, are quite unique and surprising, while some others are totally heard-it-before-stuff. And as a matter of fact, most tracks are 1) of a high quality and 2) bring at least something that is quite fabulous: a hidden bass line, a cold and dark passage of technical supremacy, etc. Therefor they surely distinct themselves from the majority of Behemoth / Hate / Thy Disease / Yattering / Damnation-clones. And more than before there is something devilish, or why not: blackened, in the house. Besides the ‘new’ lyrical approach and the increased technical execution, that additional obscure sound is another element that shows quite a progression with the former released Preludium did.

Fans of, especially, both first bands I mentioned need to give this album a try; but I think I am not exaggerating if I call Redemption the best Preludium-album to date. And with ‘best’ I mean: most convincing, most professional, most structurally correct, and most breath-taking…