Allegaeon - The Ossuary Lens
- Samuel Stevens
- Apr 1
- 2 min read
For nearly two decades, Allegaeon has been a band in perpetual evolution. The Fort Collins-based technical death metal titans have consistently pushed boundaries, blending melody with blistering precision, and their seventh full-length, The Ossuary Lens, set for release on April 4, 2025, once again through Metal Blade Records, is no exception whatsoever. This time, however, it’s more than just another chapter—it’s a full-circle moment.
With the return of original vocalist Ezra Haynes, The Ossuary Lens marks a significant shift in Allegaeon’s trajectory. While the band’s last three albums explored a more polished vocal approach, Haynes’ reintegration brings back the unrelenting aggression that defined their earlier work. It’s a reunion that feels both nostalgic and reinvigorating, delivering an album that masterfully fuses the band’s past and present.
Though not a concept album in the strictest sense, The Ossuary Lens revolves around different perspectives on death. “Each song essentially is a different topic, however, there is always a different perspective of death tied to each subject,” explains Haynes. This thematic cohesion gives the album a haunting and cerebral quality, enhancing its brutal yet thought-provoking nature.
Tracks like “Chaos Theory” dive into Allegaeon’s signature fusion of technical wizardry and lyrical depth, while Tracks like “Refraction” and “Dark Matter Dynamics” (featuring acoustic guitarist Adrian Bellue) introduce unexpected sonic textures, proving that the band still thrives on experimentation. Meanwhile, “Driftwood” showcases a rare instance of revisiting old material, with bassist Brandon Michael reworking a piece originally written for Apoptosis.
From the outset, The Ossuary Lens is a tour de force of technical proficiency. Greg Burgess and Michael Stancel’s guitar work remains unparalleled, seamlessly weaving neoclassical flourishes into razor-sharp riffing. The lead single, “The Swarm”, exemplifies this; its frantic intro conceived on a rainy night in Bristol, UK—an anecdote that highlights the band’s ability to channel real-life chaos into sonic ferocity.
Jeff Saltzman’s drumming is relentless, propelling tracks like “Dies Irae” and “Imperial” with machine-like precision. Brandon Michael’s bass lines, meanwhile, offer a rich counterpoint to the intricate guitar work, solidifying the album’s rhythmic depth.
Allegaeon has long excelled at balancing melody and technicality, and The Ossuary Lens is perhaps their most refined execution of this formula. While the album is undoubtedly punishing, its melodic undercurrents add a layer of accessibility without compromising intensity. Haynes’ vocals—raw, visceral, and commanding—anchor the compositions, ensuring that each track hits with emotional weight.
Once again, the band partnered with longtime producer Dave Otero at Flatline Audio, a collaboration spanning seventeen years. Otero’s understanding of Allegaeon’s sound is evident in the clarity and balance of the mix—each instrument is given space to breathe, allowing the technical intricacies to shine without overwhelming the listener.
Simply put, The Ossuary Lens is Allegaeon at their most cohesive and formidable. It’s a record that honors their past while forging ahead with newfound intensity. With Haynes back in the fold and the band firing on all cylinders, The Ossuary Lens is not just a return—it’s a rebirth.
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