“When TesseracT performs live,
Acle [Kahney, co-guitarist] and I generally
trade off between playing riffs and the
more atmospheric stuff, as well as taking
turns soloing,” says Monteith. “Keeping
the parts distinct helps to assure that
things don’t get overly hectic, and also
helps us leave more space in the music.
We both play through Fractal Audio Systems
Axe-Fx processors. To get those spacy
sounds, we use patches ranging from soft
amp models combined with long reverbs
to really complex chains of delays, reverbs,
and choruses—sometimes with additional
processing on the delay repeats. In addition
to the live guitar atmospherics, we
use backing tracks that include synth
pads and other sounds that aren’t very
prominent in the mix, but add a subtle
depth to our onstage playing.
“I play a 7-string Ibanez LAC, which is
based on the RDG 2127Z, but has a 27"
scale length, a fixed bridge, and a swamp
ash body. Acle plays a 7-string Mayones
Regius 7 with a swamp ash body. Both guitars
are armed with Bare Knuckle Aftermath
pickups, and tuned A, E, A, D, E,
A, D [low to high]. We also play 7-string
Ibanez RDG 2127Z guitars with Lundgren
Model M 7 pickups that are tuned Bb, F,
Bb, Eb, F, Bb, Eb. The outputs of the Axe-Fx
units are fed directly to the P.A., and we
monitor with HH Electronics Tessen Range
active speakers onstage.”
English guitarists James Monteith and Acle Kahney
are practitioners of djent—an onomatopoeic
label for a subset of progressive metal characterized
by weighty, metallic-sounding, palm-muted
riffing, typically on instruments with seven or
more strings lowered to substandard tunings.
TesseracT juxtaposes that steadfast staccato
underpinning with trippy atmospheric textures,
as illustrated on its sophomore album, Altered
State [Century Media].
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