Finally deciding to do a full record of it and having that ability thanks to Metal Blade, Inside Out, and the other people helping me out has been great. So I’d try to put in as much as I think people can handle on each record. So I’ve always tried to insert those kinds of elements into Fates’ music, realizing that a good portion of our fanbase probably has a limited tolerance for that. I mean, I’ve liked it as much as metal since I was a teenager. I think it’s more a question of having those influences and liking ambient music. I don’t think I did that purposely or consciously. And to me, it sounded like you had taken all the spacier and more ambient elements that had been on a few Fates Warning albums and put them on their own album. Enjoy the interview transcript of our conversation below.įull disclosure: I missed the boat on the first Tuesday the Sky album. The dude was downright affable, kind, and eager to discuss where his music previously has taken him–and where he is currently taking his music. We discussed the process by which Tuesday the Sky‘s decidedly non-metallic sonic screenplays come into being. ![]() Matheos has a long-standing reputation for basically being a hermit, but I found zero evidence of that. ” The upcoming sophomore offering from Tuesday the Sky, “The Blurred Horizon,” sees Matheos continuing the path set by its predecessor: loops galore, subtle samples, and moments that recall the likes of Tangerine Dream and Buckethead.Ī frustratingly spotty Internet signal somewhere in rural New England meant exchanging text messages with someone who has had a big impact on my life. Indeed, my own first impression (see what I did there?) of “Drift” was that it sounded like the dreamy flourishes that adorned Fates Warning albums like “FWX,” “Disconnected,” and “A Pleasant Shade of Gray. This is pretty much the opposite of that. “I toyed with the idea of releasing “Drift” as a solo album with my name on it,” Jim says of the 2017 debut from Tuesday the Sky, “I didn’t want people to be confused, thinking this was another organic acoustic record. Whereas his primary gig is a collaboration with Ray Alder, and OSI was a partnership with Kevin Moore, Tuesday the Sky is all him, with a few friends pitching in to help Jim realize his vision. The beautifully weird solo project from Fates Warning honcho Jim Matheos is the closest thing to a full solo vehicle these days. The song’s climax, which finds him grabbing ahold of a twisty, unabashedly theatrical melody, is a serious goosebump-inducer, and a reminder of what a formidable talent Arch is - and how lucky we are to have him back.Make no mistake about Tuesday the Sky. The singer has lost none of his extraordinary elasticity (check out those vertigo-inducing high notes in the song’s opening minutes), but the intervening years have given his delivery a new poignancy. The music - played by Matheos along with a rotating cast of rock/metal aces, such as bassist Steve DiGiorgio and drummer Thomas Lang - sounds unfailingly tight and dramatic but what’s most striking about the track, and the album as a whole, is Arch’s performance. ![]() Album opener “Vermillion Moons,” a nine-minute epic that moves from charging hard rock to placid balladry, continues in the same vein that made Awaken such an escapist blast. Beyond that, though, the singer and guitarist don’t seem concerned in the slightest with sounding contemporary. ![]() Like that album, the duo’s new second LP, Winter Ethereal, features sleek, state-of-the-art production values.
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