On The Road… with Devin Townsend Project And Between The Buried And Me


devin-townsend-btbam-fallujah-tour-ghostcutmag

We have a philosophy at this website that goes something like this” few bands ever have managed to keep the highest level or artistry, yet still have commercial success.” As we have been tracking here at Ghost Cult, appreciation for progressive music is at an all-time high in 2016. Usually this type of thing doesn’t bode well for quality, but this era of bands is a different animal. It is a boon to fans to have so many strong, legendary figures continuing to be great and tremendous younger bands across all the sub-genres with bright futures. Nowhere is this more apparent than on the second leg of the Devin Townsend Project, Between The Buried And Me, and Fallujah tour. Continue reading


Oceans of Slumber – Winter


Oceans of Slumber Winter ghostcultmag

Oceans of Slumber’s new album Winter (Century Media) is sort of frustrating. Frustrating like “Wow I’m really enjoying this song” and then one of the novice inconsistencies comes in and I’m punching my fridge repeatedly.

Don’t let me get off on the wrong foot here as there is much talent to be extracted from this young Houston band. For starters they have a vocalist in Cammie Gilbert who can sing. And by sing I don’t mean the metalcore melodic chorus sandwiched between barking verses. Like she can actually fucking sing. Guitarists Anthony Contreras and Sean Gary cleverly find the link between Sabbath doom and Michael Amott shred. Seems like a no brainer, right? Possible album of the month?

Not quite yet. Winter’s title track its follow up ‘Devout’ (and ‘…This Road’) serve as the cover letter to this pretty good resume. They highlight Gilbert’s vocals and pull from various strains of extreme metal and form them into a cohesive and satisfying musical package. ‘Night in White Satin’ comes close to recreating this alchemy, but the repeated hook begins to feel like deadweight. And then what precedes that is my biggest issue with Winter. Interludes.

Never thought I’d ever bring up interludes as a point of contention in a review, but counting outro track ‘Grace,’ there are five of them on Winter. While interludes is a musical trend that many a modern band resorts to (looking at you Between the Buried and Me), by going to that well so often we lose about 10 minutes of quality time with Oceans of Slumber. That’s a shame considering that the band has such a great understanding of light and shade dynamics, so there really isn’t a need for interludes. Speaking of dynamics check out ‘Apologue,’ if you to see what Oceans of Slumber sound like when they leave the melody at home. It’s shockingly heavy.

So not quite album of the month, but they’ve got the tools and with a little roadwork, Oceans of Slumber’s next could be album of the year.

HANSEL LOPEZ

7.0/10

[amazon asin=B019HKLD7C&template=iframe image1]


Between The Buried And Me – August Burns Red Book Co-Headline Tour


BTBAM and August Burns Red tour admat 2016

Between The Buried And Me and August Burns Red have booked a co-headline tour of the USA starting this March. Direct support will come from the re-formulated lineup of The Faceless and Good Tiger. Kicking off at The Starland Ballroom in Sayerville, NJ on March 3rd the tour will run for over 35 dates and end at Webster Hall in New York on April 17th.

Between The Buried And Me and August Burns Red co-headline tour dates
w/ The Faceless & Good Tiger
Mar 4: Starland Ballroom – Sayreville, NJ
Mar 5: The National – Richmond, VA
Mar 7: Revolution – Ft Lauderdale, FL
Mar 8: Jannus Landing – Tampa, FL
Mar 9: Iron City – Birmingham, AL
Mar 10: Soul Kitchen – Mobile, AL
Mar 11: Minglewood Theater – Memphis, TN
Mar 12: Pageant – St Louis, MO
Mar 14: Summit Music Hall – Denver, CO
Mar 15: Complex – Salt Lake City, UT
Mar 16: Brooklyn Bowl – Las Vegas, NV
Mar 17: Rialto – Tucson, AZ
Mar 18: House Of Blues – San Diego, CA
Mar 19: Self Help Festival | NOS Event Center – San Bernardino, CA
Mar 21: Regency – San Francisco, CA
Mar 22: Ace of Spades – Sacramento, CA
Mar 23: Roseland – Portland, OR
Mar 24: Showbox SoDo – Seattle, WA
Mar 25: Knitting Factory – Spokane, WA
Mar 26: Vogue – Vancouver, BC
Mar 28: Union Hall – Edmonton, AB
Mar 29: MacEwan Hall – Calgary, AB
Mar 30: O’Brians Event Centre – Saskatoon, SK
Apr 01: Garrick – Winnipeg, MB
Apr 02: Skyway Theatre – Minneapolis, MN
Apr 03: Wooly’s – Des Moines, IA
Apr 05: Emo’s – Austin, TX
Apr 06: Diamond Ballroom – Oklahoma City, OK
Apr 07: Limelight Eventplex – Peoria, IL
Apr 08: The Rave – Milwaukee, WI
Apr 09: Stage AE – Pittsburgh, PA
Apr 10: Guelph Concert Theatre – Guelph, ON
Apr 12: Imperial – Quebec City, QC
Apr 13: State Theatre – Portland, ME
Apr 14: Lupos – Providence, RI
Apr 15: Fillmore – Philadelphia, PA
Apr 16: Upstate Concert Hall – Albany, NY
Apr 17: Webster Hall – New York, NY

Between The Buried And Me additional tour dates
May 06: Carolina Rebellion – Concord, NC
May 22: Rock on the Range – Columbus, OH

Between The Buried and Me, by Meg Loyal Photography

Between The Buried and Me, by Meg Loyal Photography

 

August Burns Red. Photo Credit: Kevin Estrada

August Burns Red. Photo Credit: www.KevinEstrada.com

August Burns Red on Facebook

Between The Buried And Me on Facebook

Between The Buried And Me on Twitter

Twitter Between The Buried And Me on Instagram

Between The Buried And Me on YouTube

 

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On The Road.. With Enslaved


enslaved-grand-magus-tour

It has been a banner year in the career of Norwegian band Enslaved. Firstly they released a brilliant new album In Times, (Nuclear Blast), sure to be on many Album of The Year lists. This was followed up by a 2015 full of touring relentlessly. Tours of Europe and USA have been fruitful, seeing the progressive metal band tour with the diverse likes of YOB and Between The Buried And Me, show not just the power of the band, but the versatility. Major concert events for the band include a turn at Roadburn festival, curating part of the fest and performing the original piece Skuggsjá in collaboration with Wardruna. They also appeared at many other big summer fests such as Bloodstock Open Air. Captured here earlier this fall in London by Jessica Lotti Photography, the band encapsulates their entire career arc in every show. While their opening sets have been drawing on their more recent work, they always honor their past. It will surely be an exciting 2016 for this very special band of artists.

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

 

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

 

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

 

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

Enslaved, by Jessica Lotti Photography

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BY JESSICA LOTTI PHOTOGRAPHY

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Cross Country – Dustie Waring of Between The Buried And Me


by JustinReich_04

Between The Buried And Me. Photo credit by Justin Reich

It’s been a long two years of waiting for UK fans of prog metal pioneers Between the Buried and Me. Now, fresh from the summer release of the widely acclaimed Coma Ecliptic (Metal Blade), Ghost Cult caught up with BTBAM’s guitarist Dustie Waring on their current world tour, ahead of their recent London show.

BTBAM_ComaEcliptic_2015

There have been some fantastic reviews for the new record; you must be really proud of it?

Yeah, we are. It was something really different for us, musically. We try to never repeat ourselves so the fact that people like it and support us is giving all of us a pretty incredible feeling.

When you’re in a band like BTBAM that have so many ideas going around, how do you decide between what’s working and going to work and what should be discarded?

There’s always a lot of ideas because everyone in the band contributes but the process is a fairly straightforward one: if we like something collectively, it’s in. If a piece doesn’t fit quite right in one place but is going to fit in another then we simply move stuff around: it’s pretty democratic and open.

Did you have any arguments you had when making the record?

You know, we don’t have arguments. At all. We are a very rare band in that regard. I guess we are like brothers, like family. Don’t get me wrong: we are all brutal with each other from a sense of humour perspective; we have a very dark sense of humour, but there’s never ever been arguments in our entire career – we just don’t do that.

When it comes to the live show, given the vast range of styles, how do you pick what should go into the BTBAM set?

Dan (Briggs, bass guitar) keeps a log of every set list from every tour so we look back and remind ourselves what we have been doing and what we have missed out on. Obviously, we are trying to promote a new record so we will be doing stuff off that, but we kinda just try to play the bangers off the important stuff. Stuff everyone likes. There’s songs from every record – almost- and a fun little encore that we do (Queen’s Bohemian Rhapsody, fact fans).

 

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

You’re known for having a fan base that is passionate and, dare we say, a little bit anal about everything you do; what’s the song that they always ask about that you don’t play?

Well, obviously you get some people who yell out once in a while who want some really, really old shit that was from before, like three of us were actually in the band.

So some people will shout for some stuff off the first record but those kids are like maybe 1% of our audience and we have done that and the majority of the crowd have joined us from the newer stuff, so when we are doing really old stuff they are going “Hey, is this new?!”

We understand that some people want the old stuff but, to be honest, it’s not actually that popular with the majority of our fans. Some people ask for ‘Swim to the Moon’ but that’s like 19 and a half minutes…or people ask for the full length version of ‘White Walls’ or ‘Selkies’.

We have done a version of ‘…Moon’; we do from the clean break which comes out cool. Mind you, having said all that, if people yell stuff and we are in the mood, we’ll usually find a way to play it.

byJustinReich_03

Between The Buried And Me (2015) Photo by Justin Reich

When you are travelling from town to town, concert hall to concert hall, how do we keep yourselves motivated?

Honestly, it’s what we chose to do with our lives and so it’s not that much of a burden but there is another thing – there are so many bands who do so much amazing music and no one gives a shit about them and we have just this amazing opportunity to play music for a living- we aren’t rich or anything in this age of the music industry – no one is getting rich – so it cannot be about money.

I just want to play my fucking guitar. I have this great guitar company that make me my dream guitars and they customise them just for me and this band. These are the best people I could be playing with and people like us and support us and come to see us and they go nuts when we play and that’s what keeps you motivated.

We have the rare opportunity to create whatever the fuck we want and you know no one questions it. Our fans almost expect us to do weird shit now. Honestly, we all love to play music and we love our instruments and the fact that we can pay our bills just by doing this is a blessing.

You’ve spoken before of being a band with a wide range of interests and influences. What have been the things that you have loved this year?

I really, really love this new Ghost album. I was never really a fan of their older stuff – it didn’t really grab me – but the new record in particular I listen to a lot. I love it – I’d like to play with them one day. I listen to a lot of shit that people probably wouldn’t think I would listen to. For example, I have been listening to this Casey Musgraves record a lot; she is fucking awesome; I love her. I’ve been listening to a lot of SG Lewis too – really relaxed, ambient electronic stuff with pretty melodies, he’s just smooth and cool. The other band that I have been spending a lot of time listening to is Happy The Man from Washington DC. I’ve been listening to their records from the 1970s; I have been into them for a while and their album has been played A LOT.

I like a lot of country blues because the players are sooo good; I actually play with a Nashville artist when we are not on tour just to try and develop myself as much as I can and be as well rounded as I can be as a guitarist. Working with the Nashville guys is good because you have to change your phrasing completely to do that kinda stuff, it’s completely different to everything that I had learnt. I want to be good at all kinds of music not just a good metal guitarist so it’s good to test yourself; it’s good to able to improvise over a blues scale for example: that shit is important to me.

 Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

 

If you weren’t playing in BTBAM, who would you want to be playing with?

I have some friends from North Carolina who are in a band called He is Legend; I’ve always really enjoyed their records and Adam (Tanbouz, guitar) is a sick, seriously underrated guitar player and…. (mimes guitar picking) his hands, man – no one can sound like him. It would be cool to play with Casey Musgraves, for sure. There’s a guy in the USA called Sturgill Simpson who has this unbelievable guitar player from Estonia – can you believe that – this incredible, authentic Southern country playing and it’s a guy from Eastern Europe! It would be cool to play stuff like that….

As a working musician, have you found people more open-minded to different types of music or less so?

Oh with some bands, for sure. There still a lot of bands who keep writing the same record over and over; but over the last five years, there have been some bands doing new and interesting records. I’d say a lot is down to location and the fan bases. Fans are a lot more open-minded and accepting. Take us is an example. People totally accept us for who we are and what we do. Having said that, we are definitely taking time to build our audience. We are not an overnight sensation and we have been on a steady incline.

Do you think that is because you are not an easy band to define and because there is so much going on in your music?

Yes for sure; people have been telling us that they would listen to the record for 10-15 times and not like it and then – bang! – something happens and they are really into it. That’s cool by us. Over fifteen years we have realised that we are not doing this to get rich. We are doing this because we love music and we love playing and we hope, ultimately, that people like us.

 

 

WORDS BY MAT DAVIES


Between The Buried And Me – Haken: Live at Electric Ballroom


between the buried and me haken uk euro tour

There used to be a misapprehension that “feel” and technique were mutually exclusive, particularly if your act was of the progressive nature. Musicians were either in a deep, trance state where odysseys were channelled through fingers and larynxes (it’d certainly explain some of the lyrical fascinations of the 70’s), or were producing unfeeling, but impeccable, noodling, or to be more contemporaneous, poly-rhythming. Both of tonight’s denizens of the stage well and truly disproved that; Haken bringing a light, uplifting elation and Between The Buried And Me a myriad of journeys.

Another misconception is that bands of a prog bent don’t have a sense of humour, a fallacy shattered within seconds of entering Camden’s Electric Ballroom and seeing Haken’s glorious Kevin Bacon T-shirt, leaving the unsure in no doubt as to how to pronounce the band name. With fellow Ghost Cultist Rafa Davies having acquired said garment and with beverages purchased, the mood was ripe for the London based sextet to enhance a reputation that took a steep climb up 2013’s The Mountain (InsideOut). Concentrating mainly on that breakthrough opus, they set about marrying the impressive quirky and progressive rock with an immaculate live performance, including a touch of ‘Hocus Pocus’ing, spotless yodel-ay-ee-oh’s and all.

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me’s approach is an altogether more layered assault, from teasing and probing progressive movements, through floating crescendos diving into djented stabs and jazzed death metal acts of sensory violence. Despite being shorn of any elaborate production, nonetheless BTBAM don’t do basics, with each band member faultless and pristine, delivering each song with album quality precision in a consummate performance that still felt like there was meaning and intent in the delivery.

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

It’s no secret I struggle with BTBAM in general, but a quality live act is a quality live act, and the North Carolinians are able to transmit their passion for their music and their fans, ensuring multi-faceted beasts like ‘Ants Of The Sky’ connect not just aurally but emotionally with a charged audience who respond in turn. Here lies no serenade of po-faced disconnection, instead deep, ethereal moments are respected and inhaled, and the crushing metal segments are devoured.

And yet if prog-gasm had been achieved in a main set that included three very well received tracks from this years’ mind-melting Coma Ecliptic (Metal Blade), along with favourites ‘Selkies’ and ‘Lay Your Ghosts To Rest’ and more, that’s nothing to the rapture that beheld the throng during a remarkable cover of ‘Bohemian Rhapsody’, during which Tommy Rogers showed that Brian May et al missed a trick by not throwing hods of cash his way to front the band during their post-Freddie shows.

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

This was a performance to impress even the most sceptical with both bands bringing complex, technical and diverse songs to the live setting with exquisite tightness and proficiency, but above all exuding emotion and sincerity while holding that line of not taking things too seriously live. While Haken’s music spoke to me most, there’s no denying that damn near everyone left feeling they’d witnessed a great gig.

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

 

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

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WORDS BY STEVE TOVEY

PHOTOS BY JESSICA LOTTI PHOTOGRAPHY


Temples Festival 2015 Day 3 – Bristol, Motion


Temples-Fest-2015

 

Sunday

A change towards psychedelic rock is a solid choice for the Sunday, as those that have dragged themselves back seem to have dramatically thinned. Opening the main stage, Kent band Ohhms are a relatively new band on the scene, but quickly prove they deserve every drop of respect they have earned with their brand of progressive doom while the frontman’s hazy vocals are coupled with looking like he is having a perpetually awkward orgasm but somehow they complement each other perfectly and the unusual but endearing performance is a talking point long after the band have finished.

Venom Prison, by Rich Price Photography

Venom Prison, by Rich Price Photography

First band of the Sunday second stage are Venom Prison, at 4pm owing to an hours delay after Sunn O))) nearly levelled the entire building the night before. These were another band I checked out on a whim and proved to be one of the more pleasant highlights of the weekend. Given the number of people raving about them on my FB I wasn’t alone in discovering these. Formed by ex-members of Wolf Down, Brutality Will Prevail and Desolated. They wasted absolutely no time in tearing the second stage a new one. Playing a thoroughly impressive set of hardcore and death metal, this is impressive stuff which manages to get the crowd going with seeming ease. Musically these are absolutely fantastic to hear, fast and heavy but with plenty of groove. Special mention must go to singer Larissa who has way too much stage presence for such a small stage. I’ll definitely be checking these out again next time they tour.

The King Is Blind, by Rich Price Photography

The King Is Blind, by Rich Price Photography

The addition of New Model Army bassist Ceri Monger has elevated Essex maulers The King Is Blind to another level. Unencumbered by an instrument, frontman Steve Tovey stalks the stage, giving punters a taste of his vicious snarl. Their bubbling cauldron of death, doom and black metal is a potent mix which is steadily gaining momentum and growing a devoted fanbase in the process.

Monarch’s female vocalist may be tiny in stature, but don’t let that cause you to underestimate her. From calm, creepy whispers and slow droning notes we are lulled into a false sense of security but that doesn’t last long before harrowing screams shatter the calm creating a dramatic yet captivating performance. Swan Song play to an energetic and appreciative crowd. The front man has a huge amount of energy and is all over the stage with the energy of ten. The rest of the band aren’t quite as energetic or are trying to stay out of the way I can’t quite decide. Unfortunately despite their considerable energies they are simply not my cup of tea. It’s obvious though that the crowd disagree with that assessment and have a good time.

Year of No Light, by Rich Price Photography

Year of No Light, by Rich Price Photography

This seems to be a particular talent of the French acts on that day, with Year of No Light following on with their largely instrumental atmospheric post-metal. With two drummers and three guitarist this band carries with them a huge sound that flickers between light moments before crashing down to become crushingly heavy.

A bizarre choice for the 3rd stage considering their rising stock. Tribulation bring their Nosferatu inspired blackened occultism with a sense of true rock showmanship. Adam Zaars and Jonathan Hulten trade off licks while strutting around with the cocksure swagger of an act that knows this is their time.

Tribulation, by Rich Price Photography

Tribulation, by Rich Price Photography

For anyone surprised to see Ghold heading up the main stage above the previous two bands, you wouldn’t have been the only one as the pair are more used to hitting Brixton’s minuscule Windmill or Camden’s Black Heart than a major festival main-stage. While the duo may have looked a little swallowed up in the space, there was little doubt they could pull it off with ease and their appearance as a major billing at the festival is no less than this band deserve. Their self-described “weight & grunt power” music is realised as they pummelled the audience with their monolithic sound.

Reeking of grief and filth Vallenfyre are relentless. Gregor Macintosh is a masterful frontman and ex My Dying Bride man Hamish Glencross churns out ugly slabs of brutality like ‘Scabs’ with ease. Quips about playing a cow shed aside this is northern cynicism distilled to a foul brew all lap up. ‘Cathedrals Of Dread’ sees the audience lose their shit. ‘Desecration’ concludes a mercurial performance from these purveyors of crust addled death.

Goatwhore, by Rich Price Photography

Goatwhore, by Rich Price Photography

Goatwhore are a band I’ve been wanting to see live for a very long time. They play straight up old school heavy/death metal, but there’s no denying they do it better than most. One of the bands I was most looking forward to at Temples and they really don’t disappoint.

Playing to an absolutely rammed 3rd stage, in fact it was only thanks to the excellent Temples/Motion security letting us in the back door that I could even get into the building at all. Both the band and crowd are electric, with pits, fist pumping, devil horns and crowd surfers a plenty. This is a phenomenal performance.

Canadian noiseinks Ken Mode are truly unhinged but suffer from a muddy sound mix. New stomper ‘Blessed’ is raucous and angular with Jesse Matthewson snarling about ‘handfuls of shit tossed at a proverbial wall’ in a manner which recalls a more feral take on the kind of dirty art rock 90s underground label Amphetamine Reptile specialise in. Despite battling with the mix this is a passionate and intense performance that doesn’t go unnoticed.

Pallbearer, by Rich Price Photography

Pallbearer, by Rich Price Photography

Sorrowful and passionate Pallbearer impress with their enchantingly morose take on doom. Recent opus The Foundations Of Burden is unquestionably the finest release in this genre of the last five years and the band’s gut-wrenching performance more than justifies their place on the bill. ‘Devoid Of Redemption’ and ‘The Ghost I Used To Be’ are achingly beautiful slabs of epic melancholia charged with elephantine riffage and bags of soul. Putting in a truly memorable shift on the main stage, the Arkansas outfit look destined to ascend to the very pinnacle of extreme music if they can maintain such breath-taking form.

Between The Buried And Me, by Rich Price Photography

Between The Buried And Me, by Rich Price Photography

Things get technical as progressive death metal band Between the Buried and Me close up the second stage for the weekend. One of the more usual booking of the weekend, they don’t seem to slot in with any of the running themes of the festival. Not put off by this, the room is suitably packed with people forcing their way through into the room as the quintet bounce their way through the set mixing up impossibly complex riff combinations with powerful clean vocals and gutturals. While this band may not have been for everyone, there certainly aren’t many bands that can pull off this kind of sound at a festival like Temples and still keep the crowd enraptured. I can’t say I enjoy the set, but I do leave with absolute respect for the band as both musicians and performers.

Earth, by Rich Price Photography

Earth, by Rich Price Photography

Americana drone rockers Earth deliver expansive desert soundscapes that should make for an enthralling experience but that is promptly derailed when Dylan Carlson’s guitar malfunctions leaving the band to improvise while a replacement instrument is located. Once this technical hitch is rectified the band launch into ‘The Bees Made Honey In The Lion’s Skull’ which seduces with its psychedelic textures. Carlson himself is reminiscent of a young Charles Manson and remains an enthralling character to behold as he coaxes transcendent notes from his instrument. The spaghetti westerns of Ennio Morricone are often recalled not least in the sorrowful ‘Old Black’ which draws tonight’s performance to a close. A fantastic example of an event curated by true music lovers, Temples looks to remain a Mecca for underground music fans for many years to come.

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WORDS BY ROSS BAKER, CAITLIN SMITH, & RICH PRICE

PHOTOS BY RICH PRICE PHOTOGRAPHY


Tesseract – Odyssey/Scala (Live)


tesseract 2

The ever daring and polarizing TesseracT continue to keep their ambitions high with the release of live album and DVD Odyssey/Scala (Century Media). Forgive the odd title as both sides contain the same set of songs. Odyssey was recorded across Europe during the Altered State tour while the Scala visual supplement was recorded at the posh London club of the same name.

What? Simply naming it Alive doesn’t quite cut when you’re used to adding ‘Concealing Fate’ to like half of your song titles.

Most importantly, Odyssey/Scala finds guitarist and ringleader Alec ‘Acle’ Kahney and the boys reuniting with original singer Daniel Tompkins 3 years after their last collaboration. And Tompkins does not disappoint, as his soaring vocals translate perfectly to the live format and shows no issues handling former lead Ashe O’Hara’s parts. Spending an afternoon with these kinds of talents seems like a good time, but something doesn’t quite work for me.

I have to wonder if the idea to make a concert film came after they planned on releasing the live LP. The only reason I ask is because Odyssey is the best way of the two to enjoy this evening with Tesseract. The songs feel much more alive on Odyssey while Scala has a very polished mix that almost gives the impression of being dubbed over at points. The heavier, double bass segments in tracks like ‘The Impossible’ and ‘Perfection/Epiphany’ sound like Tesseract want to give the most aggressive Periphery tunes a run for their money. Also the rousing closer ‘Acceptance’ make you wish they would let their hair down to the windmill headbanging position more often. Seriously dudes, the soaring melodies and quiet passages are great, but it’s fun to thrash out sometimes.

Something else not helping Scala is the unfortunate truth that Tesseract tend to be static as performers. With the exception of the charismatic Tompkins, the rest of the Milton Keynes’ crew is keener on standing in place. I’m not naïve, I didn’t expect the Dillinger Escape Plan style antics. That being said it’s a trend I’ve observed since I saw them open for Between the Buried and Me back in 2011. Also the bizarre MTV style editing can be jarring upon first viewing. For a band as sharp as Tesseract we shouldn’t have to sit through so many blurry and shaky camera angles.

Perhaps the decision to make this both an album and DVD was hatched after realizing that it’s barely over an hour’s worth of content so it was best to offer both variants as the greater value to the fans. While flawed, Odyssey/Scala is a testament to the appeal and skill of Tesseract who are able to release a quite capable live recording with only two proper full lengths under their belts.

7.0/10

HANSEL LOPEZ