Today marks the thirtieth anniversary of Metallica’s And Justice For All (August 25th for some lucky folks in Europe). It was technically amazing, featured great songwriting, and immediately divided the fans. Sure every Metallica album has been an intentional departure from the last (see also David Bowie, Madonna, Deftones), but this album definitely jarred the fanbase when it first dropped. Sure we’ve heard over and over about the lack of bassor the inaudible bass, the “let’s see you play this!” long songs of over the top technicality, and the rushed solos Kirk Hammett recorded. Still, it’s an incredible, mostly heavy document of the band in one sense at a peak they have yet to return to creatively. Let’s take a quick look back at And Justice For All…Continue reading →
Metallica continues to share amazing videos over on their YouTube channel. You could literally fall down the rabbit-hole of cool stuff every time you go there. Watch this pro-shot video of them performing their classic “One” live in Detroit on the “Worldwired To Self Destruct Tour” in 2017. Continue reading →
This is the part of the review where I’m supposed to dazzle you with my knowledge of a band’s history, to both set the scene and establish my credibility – the equivalent of the bit at work conferences that always go on way too long, where the speaker thinks it’s necessary to go through their CV, telling you all about why they get to speak to you, rather than telling you stuff you might actually need to know, or find interesting. Continue reading →
Ramping up to the highly anticipated release of the Netflix series The Punisher, a full trailer has been released and it features an edited version of Metallica’s thrash classic ‘One’! Watch the amazing trailer below!Continue reading →
Metallica‘s ‘One’ is one of the most iconic songs in the history of heavy metal, so it’s no surprise that there are hundreds of covers of the track online. Whether it’s on guitar, piano, or strings, it seems like we’ve seen it covered in every way possible, until now. Continue reading →
Metallica will be releasing Hardwired…To Self-Destruct on November 18th via Blackened Records, and the ‘Hardwired‘ single has me more excited to hear the new material than ever before. The track absolutely rips, but that’s just my opinion. How would kids react to it?Continue reading →
With the music industry as difficult and un-financially viable a path as it is in the modern day, the survival of bands is not without some roadblocks along the way. Bands calling it quits altogether, members coming and going and a greater need to stand out and make a mark are just some such trials that can make or break.
Since their roots as a bedroom project of guitarist Acle Kahney in 2003, UK prog metaller’s TesseracT have overcome and experienced much more than many of their peers could ever have imagined, all the while almost making it look easy. Being considered a founding alumni of the ‘djent’ scene with their debut album One, they survived the style’s saturation through some evolution on follow up Altered State (both Century Media), vocalist changes as frequent as the weather. Oh, and they’ve also played on an iceberg.
The transition from One to Altered State saw a departure from the extreme metal influences of which they were known for a more melodic approach. On their newest effort Polaris (Kscope/eOne), as drummer Jay Postones explains, the forward motion is continuing: “It’s just progressed from the last album. I know that’s a really cliché thing to say because its progressive music and we just constantly strive to make something a little bit different but, I think we were perhaps more focused with this one, maybe less rushed and we had a bit more time to structure the songs and work on the ideas that really excited us.”
Comparing Polaris to its predecessors, it is an ever greater leap into more prog and ambient territory than Altered State was; a much more layered and even intricate work. As Postones explains, much of the reason for this was the working influence and presence of their sound engineer Aiden O’Brien: “He wrote a lot of the ambient parts and the piano; he had a massive input on this album. You can hear a lot of subtle differences, like, going between songs, and he has been involved in writing those parts. There’s a kind of sixth dimension to it which has been really cool.”
In fact the experience of O’Brien from other aspects of the music industry helped towards making an invaluable contribution to Polaris’ hypnotic and serene atmosphere. “He performs as much as we do (and) he’s been with us for a very long time; his main job is writing music for TV ads and stuff like that, so he knows how things should sound, for want of a better phrase.
“It’s very subtle things that many people might not hear but for people with massive speakers or headphones, they will hear the things he does. They may be subtle or subliminal but they make an impact and make a difference to us. It helps you feel the music a lot more. There’s a lot more going on than any other record.”
On the face of things it could be said that perhaps TesseracT, more than just moving from the scene that they helped to shape, are in actual fact veering from metal altogether. Certainly there are moments here where metal is entirely stripped away, for example the drifting, brooding ‘Hexes’, but simultaneously there are still heavier moments and even some growled vocals that were completely absent on Altered State. Postones gives an insight in this notion: “I think you’re fair in saying that to be honest. Even though there’s some block out moments and some screams which we didn’t do on Altered State; Dan (Tompkins, vocals)would say that works and put them in, and you never wanted to say never in case it works properly. But we’ve always tried to go with what feels right, we never want to conform to anything, we just want to write music that feels right to us.”
Postones goes on to explain that, rather than being a calculated decision by the band, or even a committee, the creative process simply happens organically: “There isn’t even conversations or emails from management saying you have to write a song like this, its never been like that with this band. We put our foot down and that’s how we choose to do it. If we ever had to compromise any creative aspect of this band to appease the business I don’t think we would get as much enjoyment out of it.
“We enjoy playing, we enjoy touring and writing. We aren’t stubbornly trying to do anything , we just do what we like to do.”
The history of TesseracT is very disjointed and confusing in places, both sonically and in terms of personnel. With a continuous base of founder and guitarist Acle Kahney alongside Jay Postones, James Monteith and Amos Williams, the vocalist has changed more than Doctor Who, now with Daniel Tompkins returning after his initial stint on the band’s first full length One. Since his first tenure the band’s sound has changed from the, at the time cutting edge djent metal sound, to one that focused towards a more expansive arena while diminishing their metallic influences on follow up Altered State (both Century Media). Now with Polaris (Kscope/eOne) they are venturing even further down the rabbit hole.
The albums opening song will prove the most familiar and easing track for those who crave a return to the crunchy metal of One, with a prominent, chugging bassline throughout, it shows signs of an underlying trait of their sound that has been there since day one, but less so through a Meshuggah lens. Instead Polaris shows an increasingly mellow and even ambient sound with a dreamlike atmosphere, punctuated by increased tempo and thundering basslines, a prime example being the ever building ‘Hexes’.
Of course, many ears will be on what Tompkins brings to the table again, and even with him still firmly on the radar during his TesseracT absence with a host of other projects, his evolution since then is staggering. Completely void of the harsh vocals that powered One, Tompkins clean vocals soar to new heights here, and his time with Indian prog metallers Skyharbor has elevated him even further, hitting new, astonishing high notes and ever improved vocal lines show his flawless adaptability to the band’s changes.
It has often been challenging keeping up with the changes TesseracT undergo, but for every roadblock that hinders their path they always come out the other side stronger than ever; this line up feels definitive as Tompkins proves even with the significant steps the band have made forward, that he still fits like a glove. Polaris is yet another important and impressive leap forward by one of modern prog’s most important alumni.
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.
