Written: 30th March 2025
Colorado’s Allegaeon has spent nearly two decades evolving into one of technical death metal’s most dynamic forces. Emerging with Fragments of Form and Function some fifteen years ago, they blended technical precision with melodic depth, before refining and evolving their sound on subsequent releases. After the departure of vocalist Riley McShane in 2022 and the return of Ezra Haynes, The Ossuary Lens represents the first new material with Haynes since 2014’s Element of the Infinite.
The album opens with the one minute long, instrumental Refraction. Classically structured and with acoustic guitars lulling the listener with a gentle, swaying rhythm, it is a deceptively peaceful opening. Any notion of this atmosphere continuing is shattered as Chaos Theory leads on an immediate dive into Allegaeon’s signature blend of technical complexity and philosophical weight. Instability, course of action / Roll of the dice, haunted by a fraction, Haynes – who throughout the album seems like a man with something to prove - snarls, encapsulating the song’s exploration of unpredictability and randomness. The guitars twist and contort like an anguished beast; Greg Burgess and Michael Stancel trade dizzying solos. At various points, the frantic pace does recede at little and some exquisite melodic moments break through. This makes sense when we consider Burgess’s thoughts on the track, “It’s also important to note that Refraction and Chaos Theory were composed as one track and then split for ease of navigation.” It is a powerful opening statement from a band who refuse to stagnate.
Darkly ambient synths herald the arrival of Driftwood, but as with Refraction and Chaos Theory, any moments of respite are short-lived and Allegaeon unleash another crushing barrage of blistering metal. For the first time on the album, clean vocals are used during the choruses. When the tide swallows the trees / The gallows of your past will haunt you / White lines and broken teeth / The shadows of your past will take you. As always, the supreme technical abilities of the band remain intact. Jeff Saltzman’s drumming is as staggeringly impressive as it has always been and the guitars are rapid but retain a sense of graceful elegance. Driftwood is a track that the band have had in the bank for some time as Burgess explains: “This song holds a special place in Allegaeon history, honestly. This piece was written for Apoptosis by our then-brand new bassist. I don’t think we knew how to incorporate it into the Allegaeon sound when he submitted it. Fast forward six years and I took a crack at possibly rearranging its format. I just wanted there to be a little bit more repetition of some parts. Always goes to show, never throw out anything as you never know when it'll come back.”
The introduction of Dies Irae begins with majestic and grandiose strings backing the pounding of Saltzman’s drum kit. This continues until Ezra Haynes tears the air apart with a bloodcurdling banshee wail and Dies Irae becomes one of the heaviest and fastest tracks on the album. Infernal, utterly unrelenting and nightmarish, it is an apocalyptic hymn of destruction and damnation. Dies Irae - Thy corpse a lesson on display / Dies Irae - Thy judgment shall not sway/ Summoning souls to my throne / Blood stains cover the stone / I will spare none. Black metal influences meld wonderfully with the sonic pallet Allegaeon create as tremolo riffs and blast beats add to the onslaught.
While not a concept album in the strictest sense, The Ossuary Lens is a depiction of multiple interpretations of mortality. “Since the entire album revolves around this overarching theme of death, and the different viewpoints associated with it, we found ourselves very attached to the word ossuary, and since the album takes look at death through different points of view, we found The Ossuary Lens to be very fitting for the album title,” comments Haynes.
The Swarm – a track that writhes with paranoia – is crammed with galloping drums and jagged riffs that paint a portrait of inner turmoil. The song feels like it would consume all in its path such is its unstoppable force. Music and lyrics combine in a fitting reflection of modern disarray, where silence in unattainable and a swarm of anxieties never cease. Mangled focus no luck no trust / Buried in dread, malice, and lust / The fire within, the haunting begins. A little before the three minute mark, a tortured scream represents a soul writhing and spiralling, forever in eternal torment. Carried By Delusion alters the band approach a little and while there are more than enough savage riffs to keep those who prefer the heavier moments happy, the band allow themselves to experiment a little more with dynamics at different points in the song. It is as good a representation as any as to the different sides to the band’s music.
Dark Matter Dynamics begins with a syncopated rhythm and the duelling of guitars. Offering further variety to the listener, it is another track that allows Allegaeon to demonstrate the thought they put into creating a complete album experience as Burgess explains further: “On every Allegaeon record in the past, I have put a solo or duo classical guitar piece. For this album, I wanted to do something a little different and teamed up with renowned steel string player Adrian Bellue. The solo collaboration ended up morphing into a full band song where every instrument can be highlighted.” Lyrically, the song also delves into a slightly different topic. On one of the most intriguing tracks on The Ossuary Lens, the band examine the mysterious and elusive nature of the cosmos, focusing on the unseen forces that govern the universe. Phantom wraith of light / The warping of spacetime / A ghost of gravity / The universe alive.
Imperial – another track held over from the days of Apoptosis - and Wake Circling Above enrich the album with new elements. Wake Circling Above – the longest song on the album – begins with the feel of a vast, cinematic epic. Slower, heavy and initially with some elements of doom metal, it builds dramatically over its seven minutes into a stunning piece - a contender for the most impressive on the album. Ezra Haynes explores both his guttural and melodic range, while bassist Brandon Micheal combines effortlessly with Saltzman – at times powerful and intricate, and at others, moody and evocative. Moving through several sections, this multi-faceted piece transcends from the progressive to the highly technical and the cinematic to the introspective with ease. In the words of Michael Stancel, “Erza wanted something slow and heavy. I was like “DONE.” I used a lot of inspiration from bands like Dimmu or Septicflesh to try and build these massive orchestral sections that set the tone as well as some noisy “ear candy” sounds to add more dimension. This is probably the most different song on the record but still has all the Allegaeon-isms you’d want.”
Closing track Scythe leaves us in no doubt that the band are unwavering in charting their own direction. Merging everything we have encountered on the album, plus the odd surprise, the band crafts an expansive feast of auditory textures. Unsettled and portentous during the introduction, gentle melodic and distant dissonant guitars sit under a beautiful section of clean vocals from Haynes. Ninety seconds in, all hell breaks loose and machine gun drumming and rapid, fiery riffs launch their assault. Another track that visits different musical territories, Scythe is a scintillating way to end the record. Michael Stancel explains: “It’s very much a ‘free for all.’ I was less bogged down by worries of ‘does this sound like Allegaeon’ and much more of ‘Fuck it, it sounds sick,’ so there’s a lot of genres that pop out in this one: from the Dillinger-esque riffs, to black metal passages, and even the thrash/beatdown section.”
With The Ossuary Lens and the return of Ezra Haynes, Allegaeon combine the ambitious progressiveness of Damnum, with the primal force of their earlier music. Balancing introspection, brutality and aggression, they prove their mastery of intricate, thought-provoking metal remains undeniable. Immaculately produced by long-time collaborator Dave Otero, the band cannot imagine working with anyone else. “We have worked with Dave at Flatline Audio since the beginning of our career,” states Burgess. “So 17 years now. Dave always provides a comfortable working environment, amazing ideas, and a career-spanning understanding of what has made Allegaeon, Allegaeon.”
While the album, preserves the technical virtuosity that has characterised the band, The Ossuary Lens beats with a visceral, human essence. Haynes’ return imbues it with a primal rawness that is in perfect synergy with what the band are aiming for. Savage and with a lasting emotional power, the album is going to threaten the upper reaches of many lists come the end of the year. Look through the lens here…
The Ossuary Lens is released on 4th April 2025.
Allegaeon online
Metal Blade Records online