TesseracT have been a progressive metal force in the UK music scene for the last eighteen years, constantly pushing the boundaries and raising the standards as to what progressive metal can be. Utilising intricate atmospherics alongside heavy, groove laden riffs to create incredibly complex and mind blowing compositions. When the pandemic hit many bands were forced to adapt to a ‘new normal’, making it hard to record and create music let alone playing live. As for TesseracT the pandemic did little to get in the way of the band’s cohesion, as they have always been band that worked remotely until recording and touring time. Whilst their output was dampened somewhat, they used the time to reflect on their musical journey and where they wanted to go next, all this was channelled into the creation of their current cinematic magnum opus PORTALS. Amos Williams (Bass) gave up his time to discuss all things PORTALS and how the band pulled off one of their most ambitious projects to date.
With an intensely passionate performance over two hours, TesseracT take you on a musical cinematic journey unlike anything else. When asked what it was like to be performing as a band again after such an extended period of time, Amos stated;
“It was certainly cathartic. Considering the level of uncertainty we were going through, it is a wonder that we managed to pull it off.”
The project itself is ambitious in every sense of the word, which suits TesseracT perfectly. Fusing elegant narrative cinematic passages with a vivid and mesmeric light show, PORTALS presents a visually stunning experience. This medium gave the band to solely focus on the task at hand, as a result delivering an unforgettable performance. Utilising their director and production team heavily included within the stage design process, the band could achieve their vision for PORTALS.
“We have always had lofty ideals, and ambitions. And this format, even with all the limitations that the medium applies afforded us with the means to achieve many of those goals. To create the ultimate show without concerns of setup times, or travelling on to the next show. We could focus solely upon this one event for the time it required, and not one show of 30 or 40 on a run. Many bands have used this pause to do similar things with great effect, perhaps the only difference between our show and many others was the technical and cinematic approach. Having the production team all sit around a table and discuss their requirements very early on in the process. Including Richard (Director) in on the stage design process so we could design with a frame in mind.”
Just as the visual aspect of the performance is meticulous, the audio production takes this up a level. Many have remarked on how phenomenal the singles (‘Nocturne’ and ‘Tourniquet’) have sounded. This is all down to Alec “Acle” Kahney’s meticulous and phenomenal attention to detail.
“Acle has a very meticulous approach. You could argue that he spends too long on things, but you would be wrong! Perhaps a less nuanced approach would do just fine, but when compared I feel Acle’s sonic vision and his steady thorough approach will always take things to that next level. He not only listens to the parts and how best to make them shine, but simultaneously envisions the whole, and then chooses which element of each instrument is best to hear when heard as an ensemble. It’s a difficult process, but one that makes TesseracT sound like TesseracT.”
“It was certainly cathartic. Considering the level of uncertainty we were going through, it is a wonder that we managed to pull it off. ”
One notable absence from the performance is drummer Jay Postones. Postones decided to stay in Texas, so the band drafted in Mike Malyan of Monuments. When discussing the emotions involved in the performance and what it was like working with Mike, Amos reflected fondly;
“I think the relief of actually performing is palpable to see. Maybe more so in Mike’s emotions than ours, ha! We are all intensely moody buggers, but Mike is a joy to be around, and he enjoys performing like few other people I know. It was an education to work with him, and one that I am grateful for. Especially in such dark times.”
PORTALS is indeed intense in every possible measure, offering the audience a chance to escape from the gruelling and harsh realities of the circumstances that we find ourselves in. The production to the unknowing eye looks very futuristic, with a tall portal placed behind the band. However, Amos stated that the entire production was created in retrospect, drawing on influences from a plethora of areas that have come before to create something distinctly experimental yet strangely familiar.
“The whole show is a retrospective. A vehicle to travel between different snapshots of time and relive those moments. It was a very nostalgic process. And also by taking inspiration from our favourite movies and stories. Future noir like Blade Runner. Of the grungey proto steampunk future of Alien. The tone those films captured was what we wished to emulate. In terms of physical production, we have always embraced the experimental. And this is where the concept of the lasers came in. To embody the virtual world through which the performance was happening by utilising a feature that only exists within the camera and screen. In the studio the lasers looked like hell, but through the snapshots that the camera captures, the artefacts of this process were beautiful.”
Given how many elements inspired the show, the message behind it all is uniquely simple and something we can all relate to with ease, the narrative of a creative journey. The analogy isn’t immediately obvious but it unfolds gradually through the bands intensely creative and innovative music.
“It is a very simple analogy of the creative journey. But one that is told through a consciousness becoming aware of itself. Not only aware of itself, but also everything it doesn’t yet know. And everything it is struggling to understand. Nothing deep, or world changing, but a story of the highs and lows of the creative journey.”
This in turn ties in with our own perceptions of the show, TesseracT have always been a band that works on the finite and intricate details. The cinematic scenes themselves feel quite apocalyptical yet also brimming with a strong sense of hope and optimism, when aligned with the performance it enters the realms of endless ambitious possibility. When asked about audience perspectives Amos stated;
“This is the beauty of inviting an audience to the table, and encouraging interpretations. Universal themes like struggle and hope are the foundations of TesseracT, but the final details are completely under your ownership. It’s like reading a book, in that sometimes the author’s intentions and the reader’s imagination don’t align. But, a story has occurred regardless. Personally, I hope that people will walk away from the show with a sense of belonging. We always try to find the details that connect us, and explore them whilst playing in a grander plot.”
The setlist is one that spans the bands career, going from their first EP to right up to their most recent release. Whilst some favourites such as ‘Hexes’, ‘Singularity’ and ‘Lament’ have been excluded, without a doubt there is something here for everyone. The band’s choices tie into the aforementioned analogy of the highs and lows of the creative journey, the songs celebrate the journey that TesseracT have been on. The consensus between each band member adds to the cohesion of the performance without a doubt, which Amos puts into perspective;
“Interestingly it was a straightforward choice for us. We asked ourselves what songs we wanted to perform, as this was to be a celebration of performance and of the journey TesseracT has undertaken over a decade of touring. We quickly saw that there were many matches between us. And so, they became our first choices. With these songs in mind, we felt additions to this setlist should complement and enhance these foundations. We were also aware that in order to add something special to this show we needed to listen to the requests for songs that were fan favourites but have never made it to the stage. And this is where the last act came into play. It was an encore of sorts, but one of ‘deep cuts’ and surprises. Gifts to say thank you to everyone that has joined us on this journey so far.”
“Mike is a joy to be around, and he enjoys performing like few other people I know. It was an education to work with him, and one that I am grateful for. Especially in such dark times.”
The performance is separated into ‘Acts’, with each song leading on from one another, it keeps you fully absorbed in the performance. When it came to these sections and tying them into the setlist Amos stated;
“It is similar to mastering an album in that respect. We treated each smaller section as it’s own album. Entirely disconnected from the other parts. We focussed on the tone of how we wanted each section to start, and end, and then how best to ensure that worked. Some acts were easier than others. Acts one and two for example. We just needed to ensure that the energy and attitude leading from the narrative element was matched by song one of the sections. And that the contrast of emphasis for change was represented by the last song of the section. With these clear guidelines the setlist almost wrote itself.”
Of course, with a project as grand and formidable as this, it can be expected that there was a significant amount of challenges involved. Amos outlined this challenging time and the elements that caused the most stress, in the process of doing so outlining the strength and character of the band and how they got through such an intense period;
“Logistics, and in most cases belief we could do this. Fortunately, we have a solid team of experienced professionals to help with the logistical side of things. But, even then things were thrown at us in the last few minutes that we just had to accept and work through. Keeping everyone focussed on enjoying the moment was key as well. It’s a massive undertaking, and one that could have become a chore were it not for the camaraderie of the team and band. More so than any achievement, I am grateful for that time we all shared. It was ‘career affirming’ stuff. I knew I was doing the right thing with my life, and that I wanted nothing more than to be a musician.”
Even so, PORTALS shows Tesseract in a completely new light, and whilst they will be expected to carry over some of the elements from PORTALS to their live show, Amos made it clear that there are distinct differences between stage and screen, even more so in this sense.
“Whilst we cannot reproduce many of the laser effects in real life, we can recreate some of them. So, when touring is back on the calendar we will of course try to work some of this in. I suspect it will be expected of us! Certainly the portal itself may become a feature. But, the stage and screen are two very different formats. And as such I feel a different approach will be required for the stage to get the most out of the show.”
The band are currently working on album number five, alongside planning a couple of tours. They have also set up their own Twitch stream to explore it as a creative outlet. “Whilst I doubt there will be a P O R T A L S: The Revenge, there may yet be another show, of an as yet unformed, and open idea. Who knows!” stated Amos. PORTALS gives fans the opportunity to escape, reflect and be inspired whilst coming together as a tight knit community with the band. When asked what he wanted fans to take away from the performance Amos put it in simple terms;
“Simply this: in a time of uncertainty and isolation, where the world we knew was now an uncertain one, we still connected. We still found common ground between, and experienced joy because we made a connection. The show was called portals for numerous reasons, not least because it acted as a way for us to keep contact with our community.”
The stunning cinematic live show that is PORTALS will be released on the 27th August across various formats via Kscope. You can pre-order the performance here.