TesseracT – ‘Polaris’ [Review]
Since 2003, TesseracT have been busy building a monolithic name for themselves in the progressive metal world. Ranked alongside the likes of Periphery and Karnivool and hailed as djent pioneers, it’s safe to say that each and every move they make is made under the joint pressures of sky-high expectations and feverish global-scale anticipation.
The burning question, then, is simple: Is Polaris any good, or have the legends lost their touch?
The short answers are:
A) Yes, of course it fucking is; and
B) No, don’t be ridiculous.
If you’re a TesseracT hater looking for mean words, you’ve come to the wrong place. Build a bridge, get over it, and go fellate yourself where the rest of us can’t see you. If you’re looking for them, you will find a few moments to whine about, but if all you have to offer the world consists of complaints and negativity, keep that shit to yourself.
It’s easy to imagine Dystopia (Polaris track one) dividing opinion. It’s heavy as the Almighty’s ballsack, but it is also pretty damn bouncy, accessible, and even…whisper it…danceable. It’s a track your brain and hips alike are going to love – and while it may be an overstatement to say that TesseracT shows are going to start resembling hip-hop videos when this track drops live, it’s at least a strong move toward progressive shows that aren’t serious-as-cancer sausage-fests, and that is a very good thing. Hexes, meanwhile, pushes back in the direction of pure epicness, a space where spotlessly clean soundscapes stretch out under thunderous bass clouds before fat riffs hit the horizon – and Survival is as radio-ready as djent can get without eviscerating itself, coming complete with widescreen chorus and rocket-launch energy.
We’re firmly back in djent-oriented territory, but there’s still a sense of Pokémon-esque evolution if you listen closely enough. Tourniquet ascends like a mountain rising from the ocean, complete with expansive slap-bass plateau; and Utopia is another potential controversy magnet, opening with Nine Inch Nails-style piano and closing with a vocal onslaught that channels Fred Durst’s approach to rhythm. For me, Utopia is the definite highlight of the entire set – but yeah, there’s no doubt that that one will spark off many an online word-war. Oh well. More on this point at the end.
Pushing into the home stretch, Phoenix alternates between tidal waves and soon-to-be-flooded streams; lead single Messenger veers into Karnivool territory without falling into the Pit of Plagiarism; Cages imprisons cinematic washes, expensive-sounding chords, heartbeat pulses, and imploding-sphere riffage; and Seven Names is a heady and disorientating mix of light and dark elements, topped off with stellar climax and blissful fadeout.
Back to Dystopia and Utopia, though. They’re the most experimental tracks on the album, and they’ll doubtless provoke many a heated debate, barroom brawl, and post-dinner-party divorce. But really, that’s what prog is about. Experimenting. Progression. Forward movement. Stick-in-the-muds may find niggly bits to take issue with, but ultimately prog is supposed to challenge you and stretch you beyond your comfort zone. Progression is the point – and TesseracT have nailed it.
TMMP RATING: 95% (Essential Listening!)
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