Allegaeon “The Ossuary Lens”

The Ossuary Lens will be released April 4th on Metal Blade Records

Progressive, melodic and technical death metal act Allegaeon have added complexity and sheer impressive musicianship since the band’s formation. Since their 2010 debut Fragments of Form and Function, the band was a sheer powerhouse and established themselves as talented and creative musicians with the band’s material. After original vocalist Ezra Haynes left the band in 2015, the band focused more on clean vocals with the band’s next album Proponent for Sentience and with new vocalist Riley McShane. Clean vocals would become more prevalent on the band’s sixth album, 2022’s Damnum. Taking many progressive/doom metal inspiration from acts like Opeth & Katatonia. In 2022, McShane would leave the band and Haynes would rejoin the band. Now, ten years later, has Haynes retuned delivered the original sound and roots of the band’s early material? Is it what the fans have been waiting to hear for over ten years?

After the somber and reflective instrumental acoustic guitar opening of “Retraction”, the album officially kicks off with “Chaos Theory”. Opening with bombastic double bass drum hits and anthemic reverbed tom hits from Jeff Saltzman, the intricate guitars of Greg Burgess & Michael Stancel create a dynamic introduction that accompanies and accents the drumming as well the double bass kicking in at the second part of the intro. The melodic harmonies of the guitars really create that build into Ezra Haynes’ vocals. Which come off more demonic and gravely, but also super gritty at the same time layered perfectly in the mix. Guitars intensify after the main verse section, really leaning towards the melodic death metal sound that you got out of “The Gothenburg Sound”. Specifically with bands like Soilwork and In Flames, Haynes’ screaming vocals really get an extra boost in the chorus section with the driving double bass beneath it. Adding an anthemic build during the chorus, while also adding unique dynamics and multi-layered guitars that add such weight and heft to the production. Segueing into beautiful dueling guitar harmonies and lead guitar solos, transitioning back into the first section with Haynes’ gritty, growling vocals adding an extra oomph to the song. The tempo changed too as well near the three quarters mark. Slowing the song down into a more progressive, Dream Theater play style that soothes the listener and gives a little reprieve to the listener. While also showing technical prowess on the guitars. I also love the low-fi guitar production that leads into the final chorus. Strong opening track and does set the stage for a “return to form” to Allegaeon’s early releases with Haynes.

“Driftwood” opens with a somber, melancholic feeling that comes straight out of the 1980’s post rock/metal scene that you would get from bands like Bauhaus. Transitioning into heavy, cannon fire-esque double bass drumming. Combined with thrashy, speed metal complexity. The song screams modern day thrash metal, leaning towards heavy over the top drumming, high-octane guitar playing, and an anthemic sing-along chorus’ that showcases clean vocals for the first time on the album. Almost in the vein of metalcore acts such as All That Remains or Killswitch Engage. You can definitely hear the reasoning why this was chosen as the lead single for the album. It has that catchy chorus, earworm guitar hook by the guitars, and combines the catchiness of modern metal mixed with the brutality and complexity of progressive metal and melodic death metal as well. Haynes’ layered vocals are pretty impressive in both the complexity, brutality and also grittiness in the delivery. Guitars seemed to soar like eagles throughout the entire production of this track. Especially with the dueling harmonies, hammer-ons and other guitar solo sections near the end of the track. Before leading into a brutal, chugging breakdown with a heavy as all hell double bass. Pounding the listener into a guttural reprieve, before heading into one last chorus as the song closes.

On the next track “Dies Irae”, it opens with a soaring, eerie and ominous guitar lead that gets accented with synths and strings beneath it. Adding a brooding and dark opening to the track, in an almost cinematic nature. When the vocal scream kicks in, it draws comparisons to second wave black metal acts like Emperor or Darkthrone with that sniveling, snarling, goblin shrieking in the opening scream. A genre diverse track with moments of chugging modern metalcore that also adds elements of melodic death metal and black metal, which the band combines with progressive metal very well and uniquely on the track. Some sections just segueing beautifully into one another and done almost to perfection in the production. Drumming is again relentless throughout the track with almost no reprieve or pause from double bass or punctuating drum strikes that segue into certain movements perfectly. The same thing can be said for the guitar playing as well from Burgess & Stancel. Forming a perfect amalgamation of heavy chugging riffage that has come straight out of classic death metal to sweeping and soaring guitar leads that harmonize beautifully and draw almost neoclassical and traditional elements in the performance.

“The Swarm” opens with a almost janky, distorted and odd guitar tone, before the bombastic mathcore guitar playing and drum combination, hits the listener right between the eyes. Drawing comparisons to acts like Napalm Death or The Dillinger Escape Plan, the band and the song are just a whirling tornado of sheer intensity and attack. The chorus hits like a ton of bricks with the gritty vocals of Haynes, combined with the sheer complexity & technicality and overloading drumming of Saltzman, is just top-notch. They even got a deathcore “bree” section at the halfway mark. A nice addition and adds that modern death core chugging, that also delivers unhinged brutality in the breakdown you would get with acts like Lorna Shore. It is a great juxtaposition, with the entire song with the band juggling different metal styles and instrumentation. Creating a brutal assault on the listener’s ears. Even with a schizophrenic manic, chaotic vocal breakdown before the actual chugging breakdown kicks in was a nice touch as the song fades out.

“Carried By Delusion” starts with an ambient, clean guitar passage before again the band continues the bombardment and onslaught of just sheer aggression. Mixed with the angelic beauty of the lead clean guitar tone. Vocally and musically, it draws a heavily on the melodic death metal sound you’d hear from Amon Amarth. Creating that chugging, groovy (almost bouncy) riff with snarling, gritty call-to-arms vocals. The chorus also shows a little more metalcore aesthetics to the song’s sound, while also continuing to add that modern death metal/deathcore growl intensity of elements such as “brees” and low gutturals that draw comparison to Whitechapel. I do love the bass lead section by Brandon Michael that kicks in right at the halfway mark. Maybe i’m a sucker for bass guitar, but I love when it pops above the higher sections of the music and comes from the depths of the song. Channeling more of a lead, that the normal stereotype of a pulse to the main part of a song. The double guitar solo attack near the three-quarters mark, does show the true proficiency of both guitarists. Though can sound predictable at certain points, the transition into the breakdown and the chugging heaviness that comes after it is, is an awesome transition from the heavens to hell in musical form.

Opening with a almost Latin folk Rodrigo E Gabriela instrumental guitar piece, “Dark Matter Dynamics” has an almost Latino machsimo and soul to it. A unique, dynamic and musical choice for an opening on a melodic death metal album. It instantly had me head bobbing along to it and I could picture the band leading the crowd to clap along to it as the guitarists play the piece. Then, the song rises from the sultry and seductive nature, to the high intensity and angry sound that the band is known for. Beautifully done and expertly performed, it creates a unique choice in the genre and I love when bands play around with different genres or incorporate different musical elements either from their heritage or their travels into their sound. Haynes’ vocals are more phlegmy, distorted, almost fry-scream in delivery. The musicianship is top notch from the entire band.

Sadly, at the two minute mark, the song starts to sound almost formulaic or predictable. Which is a shock to me, because the intro was such a “where is this going?” delivery, that for the song to sound almost formulaic or generic almost does no justice to the originality and complexity of the opening. Don’t get me wrong, the musicianship and guitar playing is impressive and challenging to try to play along with it. I am in awe at how good they are at their instruments and talented they are. Not only harmonizing in such unique diverse and technical playing, but can also do it at such an intense pace that mixes with the unique time signatures throughout this song and the album itself. And the return to the acoustic section from the opening comes back at the three quarters mark. Delivering a melancholic, Latin-infusion that transitions perfectly with the accompanying strings. Mixed perfectly with leading bass guitar and unique percussion. Almost giving the feeling of the band performing the piece around a campfire, making it more intimate before returning back to the main driving groove of the song.

“Imperial” continues with the same unique, flamenco-style guitar playing in its opening moments. Before it transitions into a matching electric version of that piece, accented with aggressive heavy and relentless drumming. Drawing comparisons to bands like Cephalic Carnage and that tech grind sound with the vocal cadence and thrash style d-beat drumming. Definitely heavier in nature compared to the previous track, I would even compare it to Aborted with some of the fast drumming and guttural delivery by Haynes, but again it falls under the same, formulaic predictability that modern death metal or melodic death metal is kind of starting to fall into nowadays. It is unique in general, and a good song with its layering production instrumentation and musical prowess, but it also doesn’t have that “grab you” moment or memorable hook or memorable section that I want in the song. Like the addition of strings or synths to the song would be that extra icing on the cake or cherry on top, but it isn’t on this track which I think hurts the song overall.

Doom metal guitar strums and atmospheric aesthetics beneath it the song opens “Wake Circling Above”. With the addition of strings, it adds an almost mourning, depressing pacing to the song. The double bass also adds an pulse to counteract the doom and gloom mindset of the song. Vocals are distorted with ominous and occult-like guitars that ring heavy with reverb and chorus throughout the verses. The guitar’s building and rising like a helicopter pierced through the mix and add to the guttural sorrowful and anguishing scream of Haynes on the chorus. Clean vocals come back in on the chorus and they’re very well mixed and are VERY WELL delivered in my opinion. Really adding to the My Dying Bride/Paradise Lost sound the band was either influenced by or is going for. I do like the sludgier, slower delivery the band is going for. Though heavy with its guitar playing at certain moments, sometimes the heavier thing to do is to not go 500 miles an hour and go slower, heavier and down-tuned in your playing. The clean vocals do deliver an awesome hook that I could definitely picture myself singing out loud later. Maybe potentially the next single for the album if I were to guess, but I’m not a 100 percent confident. At the halfway mark, it turns back into a sheer onslaught of everything from chugging death metal guitars, highly distorted vocals, and chaotic guitar playing. Creating that mathcore breakdown you’d get off a Car Bomb album. The pacing does pick back up into the band’s normal progressive/melodic death metal sound as the guitar solos and harmonized sections pick up after the halfway mark and into the three quarters mark. Which for me, I think hurts the song, since I feel the songs slower, gloomier opening was the right direction. To switch it up to a faster pacing, hurts the song (like after the breakdown). If it transitioned into the chorus and called it good, it might be better for me. But, in my opinion, I think the “shred just a shred” section was not needed.

Rising strings and cinematic guitars begin the album closer “Scythe”. Clean guitars kick in after the slow, but short, cinematic build. Again, continuing that heavenly peaceful serenity in the clean guitars. Clean vocals come back in on the first section, with light distorted guitars ringing in the background. Continuing to take inspiration from other prog metal acts like Opeth, the song truly has that beautiful marriage of realistic progressive rock, clean vocals and walls of distortion and 70’s production style. After that section, it is a one-two punch of straight heavy guitars that just punch the listener from ear to ear as the drums deliver the guttural gut punches that segue throughout the musical break. Haynes’ vocals are more phlegmier and distorted on the track. Potentially going for one last gutteral delivery before losing his voice on the song after a long recording session. Bass peeks through during the verse section, and the playing almost gives a hopeful, upbeat delivery, over the heavily distorted reverb soaked guitars and guttural vocals as the song progresses. It also dabbles a little bit in post black metal with some of the guitar playing and production choices. Some moments drawing similarities to Deafheaven and Alcest, before the bubbling, boiling darkness of the band’s death metal sound begins to rise further up through the doom/heavy intro that the band set in its opening. After another guitar solo, the band goes for one last brutal stab to the throat with the chorus and a chugging breakdown as the album draws to a close.

Overall, The Ossuary Lens was a decent album and a good return to form for fans that wanted the guttural and heavy sound that Haynes delivered on his albums with Allegaeon. I do admit that, for me, there were some hits and there were some misses. I do like when the band experimented with different cultural sounds and guitar playing. That added unique instrumentation and really showed off the talent that the band has in their musicianship. I also love the doom metal influences on certain tracks near the closing parts of the album. Showing that you don’t have to be heavy and fast to deliver raw, aggressive, and punishing heavy metal or death metal or progressive metal or whatever the band decides to call themselves. My flaws with the album unfortunately is they had some moments where some songs were missing that one or 2 extra elements to put it over the edge or it had sections that didn’t need to be “shred heavy” or shredding on guitar just to do it. Sometimes it is good to do it and to show off your skill and talent, but it isn’t needed all the time. Or it would hurt the overall theme of the song or flow. I still like the record and it was still a good record overall and I would love to see where the band goes from here with Haynes officially back in the band. I have always been a fan of this band since the Haynes-era and after the Haynes-era and I’d love to see where the band goes from here with their next album and the creativity and musicianship they plan to go forward on their next and future releases.

SCORE: 3.5 / 5

You can purchase The Ossuary Lens on the Metal Blade Records Bandcamp. Or you can pre-save the album on Allegaeon’s Spotify. The band is currently touring as part of The Vortex of Violence tour with Warbringer, Skeletal Remains and Summoning The Lich.