It is one of the most pleasing aspects of progressive rock music that it often takes time for an album to open up and reveal itself fully. I’m glad to say that the latest album by Dutch prog-metal band Dilemma, called The Purpose Paradox, is one such example.
The band were formed in Amsterdam back in 1993 and released their debut album Imbroccata a few years later. Disbanding in 2002 and then reforming in 2012, they came to my attention in 2018 with their highly enjoyable Random Acts of Liberation album. With Dec Burke on vocals and guitar bringing his neo-prog expertise to the band’s melodic brand of prog-metal (with the stunning The Inner Darkness epic the undoubted highlight), I was suitably impressed. So, it was with much anticipation that I welcomed their overdue follow-up. I picked up on the vibes that this might be a heavier release, but I was curious about what the band had come up with after 6 years.
To be honest – the first time I listened to the opening few tracks, I wasn’t really in the right frame of mind for a prog-metal onslaught of synchronized, thrusting guitar riffs, pounding drums and rumbling bass, over chaotic keyboard pyrotechnics. Would this be another formulaic prog-metal release? Was I ready for another profound concept album to boot as well? (God forbid, I’m still getting over Dream Theater’s The Astonishing!) No Dec Burke bringing his vocal and guitar skills to the party this time around either, it seemed. So, I decided to park it on the ‘leave till later’ pile to find a suitable time to take a more considered view on it, before I attempted a review, and give the musicians the respect and time their hard work and obvious talents deserved.
Well… I’m certainly pleased my initial thoughts and concerns were misplaced. Whilst the long shadows cast by Dream Theater and Threshold undoubtedly loom large over The Purpose Paradox, it soon revealed itself as well-crafted and nuanced progressive metal of the highest order that has just continued to grow on me with repeated plays. The album concept is engaging; the instrumentation is compellingly diverse, with much more melodic lightness and accessibility balancing the intensity and darkness than I expected; and the vocals are amongst the most appealing I’ve come across on the heavier side of the prog spectrum for some time.
New singer Wudstik (Jermain van der Bogt) handles the vocals supremely. A member of For All We Know, the Dream Theater tribute band Regressive Hypnosis, and a contributor to several Ayreon projects, he has a sufficient vocal range to handle both the powerful passages and the more delicate sections with consummate skill and often brings an accessible AOR character to the music. Instrumentally, Paul Crezee on guitar, bassist Kristoffer Gildenlöw (of Pain of Salvation fame) and Collin Leijenaar on drums propel the music continually and provide the dense foundation over which the wonderful keyboards of Robin Z (Robin Zuiderveld) ebb and flow so melodically.
The lyrical concept is an ambitious but well-considered one. Although framed in modernistic terms, it is less sci-fi and more contemporary and personal. It tells the story of a man called ‘Neon’, who like us is dealing with the complexities of life and searching for deeper meaning. He is guided by a mysterious, guardian angel-like, vocal presence called ‘Electra’, and his journey through the album is one of hope, resilience and self-discovery – fighting against the corporate entity known as ‘The Hand’ and searching for the ‘outer light’ – in the hope it will lead him to where he truly belongs (and possibly a place he is already familiar with). The story complements the music well and does succeed in enhancing the album’s overall enjoyment.
The overture-like Sanctuary opens the album and provides a tantalising taste of the musical styles to follow. Futuristic, atmospheric sounds are met by driving prog-metal over which the keyboards twist and turn. It’s a heady mix of swirling guitar-led dynamics, a surprisingly catchy and melodic chorus (“Safe in my comfort zone. This moment in time’s where you know that you want to be”), powerful drum and bass-led rock passages and even a power ballad section, with Wudstik’s vocals having a lovely calming influence throughout. It is set in a night club in his home city, where Neon feels at ease, and where we can see the world from his perspective.
I Am Neon has a brooding quality, as Neon grapples for meaning and direction in his life, and the music continually alternates between bursts of staccato metal rhythms and then more reflective, dreamy keyboard-led prog, with the vocals matching the tempo and intensity where necessary. There’s a memorable chorus (“Is there a way, for me to be. To find my place in time and space”) as the music building dramatically before a quieter, more contemplative finish.
Electra starts with a ripple of Kristoffer’s dark bass, but immediately it becomes a nicely shifting intertwining of guitar and keyboards over some lovely, busy drumming from Collin. Robin’s lyrical keyboard solo is followed by Paul’s soaring guitar solo later on, before yet another melodic chorus (“… here I am…”) from Wudstik and a final musical whirlpool of virtuosity to end with. Here, Neon’s guide is promising to guide him through the maze of his everyday life.
Delicate piano begins Thunder, and this power ballad provides a refreshing contrast, with intimate and poignant vocals and an accessible, commercial AOR character. Robin delivers more expressive keyboards and Paul’s guitar solo accompanies a final increase in both tempo and intensity. Neon is revealed as a rock musician who longs to return to the audience he once connected to and begs that this fulfilling aspect of his life is not taken away from him. Another song blessed with some catchy lyrics and Wudstik’s yearning vocals at the end are a real highlight.
Beg the gods of time
Don’t take it away from me now.”
Allies picks up the pace subtlety, with some lovely rhythmic support from Kristoffer and Collin. Guitar and keyboards initially support the music, and then, after a swirling synth solo from former Dream Theater keyboardist Derek Sherinian, they take a more prominent role, with Paul’s closing solo nicely measured. Wudstik’s voice copes admirably with the wide range needed on this track, as Neon realises the importance of his safe haven with family and friends within his life.
A burst of drums begins Not Enough Now. This starts with a dynamic, prog-metal feel and has a nice swagger to it – helped by an infectious, repeating keyboard theme and a driving chorus. Neon can feel how the company he works for, is holding him back from the path he dreams of following – back on the road with his musical friends – but is he able to escape the grip of ‘The Hand.’
This is followed by Glow, which has a lovely, laid-back, almost jazzy, groove to it, with drums and rippling piano, before the lively tempo rises, along with the gorgeous vocals and harmonies. The song shows Neon’s struggling with expressing his feelings and tell his love of your life that you will always keep glowing for her. Surprisingly mainstream, pop-orientated and almost danceable, with lush keyboards and a well-pitched guitar solo towards the end.
There is a touch of rhythmic electronica running through Cities. Wudstik’s dreamy vocals hit the spot perfectly and then after a thoughtful reading of Sara Teasdale’s Moonlight poem (and its reflection of sorrowful youth and the blissful nature of old age) by Winston Tharp, Paul delivers a stunning guitar solo over the repeating, and increasingly fraught refrain of ‘I don’t want to fear tomorrow’. This is a powerful track as Neon talks about the darkest moments he remembers – such as the fears of loneliness and insecurity – and realises that he must face these fears to escape them.
We have come to the closing song and the culmination of Neon’s story with Outer Light, and it’s a real prog rock epic with the band throwing everything, including the kitchen sink, into the mix. Urgent, driving prog-metal, funky bass syncopation from Kristoffer, Robin’s proggy keyboard flights of fancy, shifting, complex tempo changes from Collin, uplifting and ethereal vocals, cinematic soundscapes, menacing guitar riffs from Paul and dramatic guitar flourishes from Mark Lettieri of Snarky Puppy. The song ends beautifully with melancholic keyboards gradually gaining in intensity, with rich guitar lines and moving vocal harmonies before a majestic, heartfelt conclusion. Neon discovers that after his inner journey, it is his music, real friends, faith, hope and especially love that are the most important things in his life – which were all there at The Sanctuary at the start. He has arrived at where he belongs.
Don’t fear the endless paradox of time.
Free we are,
Trapped inside the purpose paradox of life.”
Dec Burke, who co-wrote the storyline with Robin Z, and contributed ideas to the music, even plays a touch of guitar on this closing track. It is nice to know that it was the physical distance between him and the band that caused a parting of the ways for this album, rather than artistic differences.
The whole album is beautifully produced by Collin, with mixing and mastering by the famous Rich Mouser at the Mouse House in L.A. really creating a lovely sonic clarity and dynamic range to the music. The deluxe edition has a second CD with instrumental versions of all 9 tracks, but while it is great to marvel at the musical interplay between the musicians on these, I sort of miss Wudstik’s emotional vocals, which are a key ingredient to all of the songs and certainly contributes to the success of the album – and, of course, its narrative strength.
The Purpose Paradox is so much more than a ‘prog-metal by numbers’ release. There is a diversity, accessibility and melodic heart to this music, with excellent playing from all the musicians, along with confident and expressive vocals and harmonies, and catchy choruses throughout. The sound certainly showcases a broader side of Dilemma. Louder, faster, more technical but also more progressive. There is driving power and rich intensity and complexity for sure, but never at the expense of the melodies and harmonies, and the contemplative and emotive narrative is appealing and works very well. Fans of Neal Morse, Flying Colors, Spock’s Beard, Ayreon, Porcupine Tree and Frost* will find the music just as enjoyable as those fans of Dream Theater, Vola, Haken and Threshold. I am pleased I took the time to explore beneath the surface of this impressive release and I heartedly recommend you do too.
TRACK LISTING
01. Sanctuary (7:09)
02. I Am Neon (6:10)
03. Electra (5:59)
04. Thunder (6:12)
05. Allies (6:08)
06. Not Enough Now (4:27)
07. Glow (5:19)
08. Cities (5:07)
09. Outer Light (15:40)
Total Time – 63:01
Deluxe Edition (2nd CD) Tracks 1-9 (Instrumental versions)
MUSICIANS
Wudstik (Jermain van der Bogt) – Vocals
Robin Z (Zuidweveld) – Keyboards
Paul Creeze – Guitar
Kristoffer Gildenlöw – Bass
Collin Leijenaar – Drums
~ With:
Derek Sherinian – Keyboard Solo & Hammond B3 (5)
Mark Lettieri – Main Guitar Solo (9)
Rich Mouser – Additional Vocals & Guitar, Closing Guitar Solo (9)
Dec Burke – Additional Guitars (9)
Nando Eweg – Additional Keyboards
ADDITIONAL INFO
Record Label: V2 Records | Butler Records
Formats: CD | Vinyl | Digital
Country of Origin: The Netherlands
Date of Release: 20th September 2024
LINKS
Dilemma – Website | Facebook | YouTube | X