Westword and Twist & Shout Present
BETWEEN THE BURIED AND ME
Sun Feb 24
Doors: 6:30 pm / Show: 7:00 pm
$25.00 - $28.00
This event is all ages
Ages 15+ without a parent
All tickets are non-exchangeable and non-refundable following purchase
Listed price does not include tax and service charge
Price is the same online, over the phone, or in the Box Office.
All tickets are General Admission (GA) with limited seating available. If you require accessible seating or other accommodations, please purchase your GA tickets and reach out to Lee@z2ent.com to help us make your visit as enjoyable as possible.https://www.foxtheatre.com/event/1782304/
Between The Buried and Me pose those questions and more on their two-part eighth full-length and introductory offering for Sumerian Records, Automata. The North Carolina quintet—Tommy Giles Rogers, Jr. [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. It sees them venture into new territory with visual accompaniment for the entire body of work. Moreover, they continue to expand their ever-evolving style, upholding a tradition of progression in the process.
“We never want to repeat ourselves,” affirms Paul. “We’re always trying to do something different, and this album fell right into that sort of pattern. We push ourselves into new places, while retaining our basic sound. Musically, we go somewhere that’s fun and challenging. We never know how it’s going to turn out. These are uncharted waters for us. We’ve never taken on a visual capacity of this magnitude. We’ve never written an entire piece and presented it in separate parts like this.”
Tommy agrees, “This many years into our career, we want to continue doing things differently.”
This approach cemented the group as progressive music’s most unpredictable outlier since its formation in 2000. Among many milestones, they released 2007’s watershed Colors followed by The Parallax: Hypersleep Dialogues EP in 2011 and The Parallax II: Future Sequence a year later. 2015 saw Coma Ecliptic elevate them to new heights yet again. Not only did it bow at #12 on the Billboard Top 200 (a career high for the band), but it also garnered widespread acclaim from Noisey, Revolver, Alternative Press, and The Guardian who welcomed the album with a rare perfect score. In between, they launched countless sold out headline tours and support runs with the likes of Mastodon.
Now, they break more ground with Automata.
“Lyrically, I wanted to write something that I treated as a puzzle until it comes together at the end,” continues Tommy. “For as deep and dark as it is, there’s a positive outcome, which we’ve never had. The story follow a protagonist whose dreams are used as entertainment broadcasted by a company called Voice of Trespass. Most of the record takes place within that dream. The character thinks it’s all real.”
“Even though it takes place in the future, there are a lot of parallels to modern society,” adds Paul. “Oftentimes, we turn athletes, movie stars, and musicians into commodities. We forget that they’re real people with problems and issues. They’re society’s escape from reality as we use them for entertainment. Hence, society plays a role in their downfall, be it drug dependence, isolation, or even suicide. Society perpetuates mental illness with those expectations.”
Automata – Part I unveils the first six songs comprising the entire body of work. Stretching near seven minutes, “Condemned to the Gallows” kicks off this journey. Acoustic guitar builds in epic fashion before sweeping distortion takes hold followed by unpredictable rhythms and a seismic vocal performance which, as Tommy puts it, “sets up the whole story.”
Elsewhere, the trudging eight-minute guitar symphony of “Yellow Eyes” spirals into the melodic bliss of “Millions.”
“There are a lot of moments where we totally venture away from the traditional formula of what a progressive metal band can do,” states Dan. “There are all these little moments where we’ve done something we never did before. ‘Millions’ is the perfect example. It’s four-minutes of straight melody—another first.”
With Automata Part I, Part II, and the myriad of visuals on the horizon, Between The Buried And Me realize their potential to its fullest—and go one step further.
“All of our music should build up to the newest record,” Tommy leaves off. “That’s what happens with Automata. You can take little snippets from our past throughout this album. It sounds like Between The Buried And Me, but it’s still new. We hope to keep the music industry on its toes. This is part of doing that.”
The world is changing. As a species, we’ve never been more conscious of who we are or where we are going – our minds circling with questions that are no longer exclusive to the more philosophical among us. It’s a revelation that inspired much behind TesseracT’s latest full-length, Sonder. The UK-based progressive metal pioneers, who were instrumental in paving a new wave of exciting and heavy sounds the world over, purposefully chose a title that had no orthodox meaning whatsoever. When you think about it, this is something that marries perfectly with their non-conformist approach to music…
“I stumbled across the word ‘Sonder’ a few years ago,” reveals singer Dan Tompkins. “I assumed it was an actual word taken from the dictionary. When I was thinking over the concept and titles for the album, I looked the word up in the dictionary but couldn’t find it anywhere. Lo and behold it was coined by a wonderful writer that was beautifully putting into words, the thoughts and feelings that nobody had officially considered, it seems.”
The writer in question, John Koenig, is someone who has been at the forefront of reimagining how we communicate, much like TesseracT have been doing through sound. Author of The Dictionary Of Obscure Sorrows, he created his own terms based on research on etymologies and meanings of used prefixes, suffixes and word roots, ultimately filling in the linguistic gaps we never realised were there…
“The word ‘Sonder’ is a name given to the seemingly ineffable emotions we experience when realising that each of us are simultaneously living vivid and complex lives,” continues Dan. “Everyone has a story, a unique story that is shaped and created within a plethora of emotion. This realisation, or rather perspective, can leave us conscience-stricken with regards to any sense of self-importance, and render us insignificant to the world and people that we’re surrounded by. There has been a huge generational shift in technological advances compared to when all of us in TesseracT were children – disconnection from each other can only be a bad thing in my eyes, the art of communication is more important than ever. In a volatile, aggressive and ignorant world, maybe it’s this very perspective that is missing and much needed: these are the notions of Sonder. Very deep to say the least…”
The eight tracks that make the tech-metal quintet’s fourth album could very well be their best yet, expanding on parallel contemplations within their musical philosophies. The notion carries far indeed – we live in an age where many artists are only too happy to settle for the old words and TesseracT sit within a select few actively seeking new ones. This time round, however, things are more streamlined than in the past – amidst all of the dreamy atmospherics and sumptuous reverie is a new sense of urgency. From the bending grooves of opener Luminary to The Arrow’s concluding reversed samples, clocking in at 37 minutes in total, here is a band that never sounded so honest and direct…
“Whilst we do have lofty ideals, TesseracT has always been a project that is chasing its own momentum,” offers bassist/backing vocalist Amos Williams. “The cohesive vibe stems more from the short time period in which the album was produced by Acle [Kahney, guitars] rather than any conscious effort. It’s no secret that the majority of TesseracT’s general output has always been from Acle. This put a lot of pressure on him, so this time around we had a wealth of ideas shared in an online vault and started building tracks out of these sketches. I would also argue that we nearly always absorb the attitude of the bands that we tour with in the lead up to a new album session. More recently it’s been Megadeth and Meshuggah, so maybe read into that what you will, but there was definitely a refreshment in our musical and sonic reference points.”
As the bassist explains, the band were very hands-on with the overall creative process – himself overseeing the artwork, their guitarist handling the mastering and various members of the band getting stuck in with the engineering that took place at their own 4D and Celestial Sound studios. The methodology has served them well thus far – allowing the musicians to keep their art as pure as can be, without being watered down or infiltrated by outside influences…
“This started out as a necessity but has developed further down the line into something that actually defines our sound and look,” continues Amos. “I guess we are a collection of inspired people, who also can’t sit still. Have to keep moving and have to keep learning. Douglas Castro from the preamp manufacturer Darkglass recently asked a question online: Who inspires you? My answer was simple: perpetual people. Those of us that keep learning, changing our minds based upon new knowledge, unafraid to head out into the storm. My own personal goal is to be one of these perpetual persons, and I would hope that shows in my work with TesseracT.”
For TesseracT, the future is looking bright indeed. The quintet has arguably become the UK’s biggest metal proposition since Bring Me The Horizon and thanks to the digital world that helped them spawn a movement along with American comrades Periphery, it’s a status that speaks on a global level. From performing to massive crowds in India to making history as the first band to play on top of an igloo village in the Arctic Circle – it seems no place is off-limits for the five members. Where many artists struggle for recognition outside of their home territories, TesseracT could very well be the opposite extreme – sometimes even bigger in cities thousands of miles away from the one they call home…
“As touring artists we’ve been lucky enough to travel the world, meeting new people at every turn and experiencing many different cultures and traditions,” explains Dan. “This brings with it a greater sense of perspective on how we view the world at large. As a group of individuals within TesseracT we are all very different people with varying views on philosophy, politics, science, faith, religion and world affairs but at the centre of it all we are peaceful, respectful and creative individuals that are not necessarily held back by the ‘normalities’ of life. The concept of Sonder is something we can all relate to; the realisation that we are all playing a part in a greater story – musically as well as conceptually. It includes elements from all three-previous full-lengths – the harsh abrasiveness of One, the ethereal elements of Altered State and the accessibility of Polaris all moulded into a hybrid TesseracT sound.”
The singer pauses for a moment before letting us further inside his head. He articulates his thoughts with a strikingly grounded level of determination – one where the pursuit of their dreams, and unrivalled success in doing so, doesn’t distract from the bigger picture…
“I feel there is a depth to our music that resonates with people,” he shrugs, when asked about their invitation to headline one of Download Festival’s stages this summer – a luxury very rarely afforded to homegrown talent.
“It’s something that isn’t immediately accessible or identifiable but rather something that simply grows with time,” adds Dan. “And that can also be said for TesseracT’s growth as a band. We have worked constantly on improving all areas of the project and with that we’ve seen steady growth in our fanbase as we’ve continued to tour. We are definitely not a ‘flash in the pan’ overnight success, we are absolutely working towards a long-term goal.”
The only outside influence helping them realise that long-term goal this time round was long-serving front of house engineer Aidan O’Brien – arguably the only person that understands the key to TesseracT’s intricate yet monolithic wall of noise outside of its five members. It was a collaboration not to be taken lightly, reveals the sound maverick…
“The biggest challenge is probably living up to their reputation,” he reveals. “Totally separate from working with them, they’re one of my favourite bands – so it can be a little intimidating submitting a song idea or adding arrangement ideas to something someone else has written, knowing it might end up on the album and shape what TesseracT is to people. I was constantly aware of not wanting to drop the ball and screw up a great song, so I had to try and set my own standards pretty high!”
The band and engineer can rest assured the standards were most certainly kept and then raised for good measure. The burning question of who will replace the likes of Metallica or Iron Maiden and headline the biggest celebrations of rock music once they retire is one that has long weighed heavy, but finally it feels like there is an answer. Make no mistake – with a world tour beginning in North American in Spring – 2018 will be remembered as the year that belonged to TesseracT.
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