POLARIS

If there's one thing Tesseract proved with their new album Polaris, it's that the lineup which gave us Altered State was something special. It's inevitable that Polaris would be compared to Altered State, the band's breakthrough album that was nominated for Prog magazine's 2013 Album of the Year. That record made the UK-based progressive metal band a group to watch in the genre, with vocalist Ashe O'Hara giving us soaring melodies and poetic lyrics that had me analyzing the liner notes. But O'Hara has since departed the band and been replaced by their former singer Daniel Tompkins. And, unfortunately for Tompkins, my biggest takeaway from Polaris is that I will miss O'Hara's vocals over Tesseract's tunes.

Sadly, O'Hara left Tesseract due to creative differences with the group, which he revealed on social media in June 2014. Shortly thereafter, Tesseract announced the return of Tompkins, who is a very talented musician in his own right. He appeared on the band's debut album, One, in 2011 and has been involved in several other projects -- including Skyharbor's 2014 album, Guiding Lights. But Polaris was his biggest test yet. This record was Tesseract's chance to cement a spot among progressive metal's heavyweights. Great bands follow up their breakthrough records with a record of an equal (or even greater) quality. For example, Queensrÿche made the impressive Empire in 1990 following Operation: Mindcrime in 1988, while Dream Theater released the breathtaking Awake in 1994 after releasing the legendary Images and Words in 1992. Yes, Tesseract had a tough task in replicating the brilliance of Altered State, but they have the talent for the challenge. Acle Kahney and James Monteith are killer axemen and bassist Amos Williams and drummer Jay Postone are technical gods. Despite falling flat, Polaris does have its stellar moments. The disc begins with the catchy headbanger "Dystopia" and then flows into the ethereal "Hexes," which might be my favorite of the nine tunes. Next, "Survival" is pretty much a flawless song that's worthy of radio play, while "Seven Names" climaxes with such intensity that it's hard to resist singing along with Tompkins. Oh, and let's not forget the incredible "Cages," which has a slow build that gave me instant chills. But still, as much as I wanted to like Polaris, it misses the mark. That's not to say it isn't a good record (it is), or that new/old frontman Tompkins isn't a good singer (he is). There's just a certain magic missing. And since Tompkins is the sole change from Altered State, it's only natural to wonder how O'Hara would've vocally approached Polaris.

The fan reaction to Tompkins is mixed -- with some revering his technical chops and others, like me, preferring the vocal choices of O'Hara. For example, a fan from the Dream Theater Forums said he thinks Tompkins is a terrific singer, but the vocals on Altered State are just "so good" that he will always have a "what if" feeling with the band in regards to the singing. Another fan said that Tompkins' voice just doesn't have the kind of texture that O'Hara's has. "He is a decent singer, but there's not a lot of character there," she said of his performance. If you're a fan of Tesseract or progressive metal in general, I'd definitely recommend Polaris. It's a solid disc, but it pales in comparison to their prior release. Of course, I'll give another chance to Tesseract and Tompkins. I just hope their next effort shines brighter than Polaris.

- Michael R. Ebert (progzombie.blogspot.com)

For those not familiar with the band, TesseracT are a prestigious progressive metal act from England. Having gone through several different vocalists in their history, the band welcomed back singer Daniel Tompkins, who had sung in the band's first album "One," only to depart briefly from their second album "Altered State." I was introduced to TesseracT on the latter, so I was a little hesitant hearing of the vocalist change so early into my fandom. I remember first hearing the news of his return; All I can remember was everyone saying "it's going to be better," and "it's all for the best." Not knowing what "the best" was in the first place, I wasn't ready for change. Needless to say, I welcome Mr. Tompkins (back) to the fold with open arms.

What "Altered State" lacked in vocal energy, Tompkins revives in "Polaris." After hearing their latest album and replaying their prior album, I am suddenly aware of the lack of vocal drive in "Altered State." Although Ashe O'Hara is an amazing musician, his vocal style and delivery don't seem to match with what the remaining members of the band dish out. Tompkins' soaring vocals seem to resonate in my ears longer, lighting a fire from under me. Those screams sparsely present in "Polaris" were dearly missed, and should be met with applause when first belted out live. With each play, I am becoming more of a fan of his work, and hope he stays with the band for many years.

Being pioneers of the djent community, their music blends influences from several brands of metal and rock. Unfortunately, being a pioneer would also mean that they are unafraid to push the boundaries. When listening to the album, the saying "if it isn't broken, don't fix it" first comes to mind. As much as I loved the drastic difference between their brutal lows and beautiful highs, I felt like I've experienced this all before. It pains me to say it, but what "Altered State" lacked in its vocals, "Polaris" lacks in its orchestration. It's hard to criticize such a talented group of musicians. The production quality is phenomenal, the bass grooves by Amos Williams are heavy and intricate, and the drums fills by Jay Postones are downright delicious. So why is it that I feel indifferent? Could it be that I have no favorite song after a few listens? Or is it the familiarity of certain sections of songs, and how similar they are to previous albums? Your guess is as good as mine.

Maybe focusing on "Polaris" as its own album instead of comparing it to prior albums may give it the praise it deserves. From the opening notes, "Dystopia" bashes the listener with those chunky chords, and is definitely a contender for top honors. The first three songs could be considered as one continuing thought, being one of the most progressive attributes of this album. The whole second half feels like a collection of individual songs in comparison to the smooth transition between these three tracks. The two singles "Messenger" and "Survival" are easily the most radio- friendly, considering their familiarity and likelihood to route a new audience. The album also contains a couple softer tracks, including the atmospheric "Tourniquet" and the uplifting "Phoenix." Did I mention the rap section of "Utopia?" Yeah, Thompkins goes rogue on us metal fans with that unexpected vocal delivery to close the song. The album ends with the epic tracks "Cages" and "Seven Names," two songs that lean on the softer side, but still contain that classic TesseracT sound.

So what is my consensus on "Polaris"? I honestly don't think I even know. On one hand, it could be worthy of being nominated as one of the best albums of 2015. On the other hand, it's underwhelming compared to their prior releases. I have a feeling with repeated listens my appreciation for this album will increase, and so will yours.

Taken from Crash And Ride Music