Capturing a specific style or period in metal can be a timeless proposition – as is the case here in Italian band Vigilhunter with their self-titled debut album. Some of the material in fact goes back to the early 2010’s, while the act features Hitten vocalist Alexx Panza (who also showcases some of his guitar skills) as well as a host of musicians with seasoning in thrash and traditional heavy metal avenues. These nine tracks take you back to a progressive power metal sound that garnered a lot of attention in the mid-80s to early 90s – especially showcasing numerous American artists willing to take their music and vocals to stratospheric heights when it came to the riffs, song structures, and high-octane vocal melodies.
After the brief minute-long “Loading…Error 403” instrumental opens the record, the first power riffs of “Disconnected” hit your speakers like a long lost track from the early Queensrÿche EP, although the progressive shifts in the instrumental interplay between guitarist Mattia Itala, bassist Mirko Negrino, and drummer Marcello Leocani come from more of an early Crimson Glory / Fates Warning angle. At other points the musical foundation straddles traditional power/semi-thrash lines a la Vicious Rumors within “Shadow Rider (Vigilante)” where the chunkier chord aspects mirror the gang-like vocal chorus. Thoughtful ballad-ish melodies connect to cleaner guitar lines and keyboard parts during the opening sequence of “Sacrifice For Love”, the twin guitar melodies as well as the thick bass support rising to the occasion in a way that conjures up Savatage during their Hall of the Mountain King prime.
Where Vigilhunter shines above 98% of artists who attempt this style is the leather lung vocal prowess of Alexx Panza. The ability to hit those eagle high notes with power to hold out for multiple measures while also being comfortable to connect to listeners in lower registers puts him in the class of Tony Moore, the long-lost Carl Albert and Midnight, as well as Geoff Tate in his 80s heydays. Check out “Titan Glory” and closer “The Downfall” in terms of versatility, range, and multi-octave abilities with a personal touch few ever reach.
Already hard at work on the follow-up outing, Vigilhunter with its self-titled debut creates a benchmark for old school progressive-oriented power metal done the US way – taking a period from 1986-1991 and making it their own. This should be interesting to see where the next album goes forward, as the foundation is already killer.
This one was/is cool. Wythersake are back with new album At War With Their Divinity, four years after their debut record Antiquity. Ya know how you can just tell a record’s gonna be good 30 seconds in? Well, that’s what I got from this one. Hell, as soon as my favorite tune started with “The Autumnal Passing” I was like, ‘Hell yeah! Let’s go!!’ “Shrines of Offal Rise” backs that up like a hitter in an MLB lineup, while “Chimerical God State Worship” flips the selectors to semi and just mows down everything in its path.
“Agents of Holy Death” is not only a great tune, but one I can see going over really well in a live setting. “Behind Shadows of Virtue” throws everything at the listener’s head including the kitchen sink, and quite frankly it feels like we’ve just done an hour on the stair stepper or the elliptical! Closer “Perverse Christ Aeon” is a track that lures you in, then slices you to ribbons. Another favorite for this guy. Now with all that said, the record isn’t perfect. It takes roughly three songs to get going, but once it does there are crowd-pleasers aplenty.
At the end of the day, I think Wythersake has delivered a good album. It’s just not great, or ‘gotta hear it now’ urgent, ya know? Still, good one boys!
Standout Tracks: “Perverse Christ Aeon”, “Agents of Holy Death”, “The Autumnal Passing”, “Shrines of Offal Rise”.
Relative newcomers (forming in 2019), Luna Kills has a sound that’s anything but ordinary. Sitting somewhere in the modern metal tagline, the band seeks to incorporate a wide array of influences, from both within and outside of the metal landscape. Given the time it’s taken to get to their full-length debut, they have utilized that time to get a solid grasp on what they want to do with their unique approach, and it shows throughout Deathmatch. The variety might not make it for everybody, but those who dig something that actively tries something fresh are going to have a blast with Luna Kills.
Nu metal, metalcore, alternative metal, EDM, video game music influences, rock, pop, the list goes on as you move your way through Deathmatch. Some of the unifying factors you’ll encounter are some big, heavy grooves and some equally big pop-driven choruses. The hooks that Luna Kills strives for is probably their strongest asset, as the songs have a easy time embedding themselves in your brain after a single listen. Case in point here would be “slay your enemies,” which opens with a very hook-y electropop delivery, before jumping right into thick grooves and vicious screams from Lotta Ruutiainen. Bouncy electronics weave into the track as the vocals slither around them and the bordering-on-industrial fuzz with a fun, energetic appeal. Opener “love u” feels like a future live staple with it’s tailor-made sound for jumping/fist pumping and it’s soaring chorus that blends singing and screaming in a very catchy way. It really sets the tone for the whole album to come. On the other end, closer “fever dream” provides a dreamy, floating atmosphere that builds up to a grooving and hypnotic swirl, ending things on a more reflective note.
Some songs have more of an almost video game feel to the electronics. “get mad” melds the potent grooves with an almost Doom-esque electronic atmosphere while keeping the song upbeat with playful vocal lines and pulsating EDM moments. “sugar rush” starts with an almost kawaii vibe to it with the blend of electronics and catchy vocal lines that eschew from the usual groove barrage. On the heavier end of this, “hallucinate” digs into the guitars to provide one of the most headbangable tracks on the album, while “burn the world with me” brings in both hooks and some of the darkest atmosphere that leans into an almost electro-goth aesthetic with moments of punishing breakdown riffage to really bring the point home.
Deathmatch shows that Luna Kills are more than adept at being able mix in different elements and still create a seamless product that’s full of energy. Really, the number one factor is fun. Each track is a joy to hear how the elements come together to create something that sticks in your head and makes you want to listen to the whole album over and over. Given the way they integrate different components, they are bound to grab a larger audience if word of mouth gets around.
Making another pretty quick return after their fall 2024 support tour for Jinjer, HANABIE. made their way back to North America for a co-headlining run with Australian act Kim Dracula, with support from fellow Japanese metalcore group Crystal Lake, and Philadelphia-based metalcore/mathcore band Kaonashi.
March 15 – Toad’s Place
Last May, HANABIE. made their first trip to Toad’s Place in New Haven as the headlining act (see review HERE). So it was unsurprisingly as I made my way into the venue just as Kaonashi began to play that the venue was significantly more crowded than the previous year. Considering the night was just about to get underway, it seems that fans from last time (or even their last run with Jinjer) have continued to give the band their deserved live hype. There was a notable presence that seemed to fill the air at Toad’s: people were energized to see this up-and-coming act.
Philadephia’s Kaonashi hit the stage and set the tempo for the evening. Their brand of mathcore/metalcore is one that certainly fits more of an avant-garde mold, and it’s not going to appeal to everyone. It’s swirling with chaos, stop on a dime time changes, a sample board, and then there are the vocals. Peter Rono’s vocal delivery is quite unique. It’s rather high-pitched and shrieking at times, but in the live setting, he was fascinating to watch. He shrieked, growled, and sang through the band’s set, as well as controlled the sample board, and you could see how the band was winning over the crowd as their set progressed.
A wild tone shift change came from the caustic metalcore riffs when “Blood Red Camry Dance Party,” an upbeat and jovial sounding track, and it sparked something in the crowd. From that point, by the time we reached “I Hate the Sound of Car Keys” a good chunk of the crowd was thrashing along, with the mosh pit fully charged up, and it was notable that Rono gave the mic to a fan in the front row for a bit, who took over some of the barked vocal delivery.
Next up was Japan’s Crystal Lake, who came out and stayed the entire set at full intensity. Fronted by John Centorrino, who replaced Ryo Kinoshita two years ago now, the band came out with the ferocity of wanting to work the crowd from the onset. From Gaku Taura’s playful drum solo during the soundcheck, to the opening riffs to “Blüdgod” it was immediately gripping. Every member of the band was perpetually moving and into the performance, and that carried over to the audience with little difficulty. The mosh pit was growing, the rest of the crowd was headbanging, jumping, and shouting along, all the while continued to be propped up by Centorrino, who urged for more and more participation.
Gaku’s drumming was impressive, and interactions between the four other members was equally engaging as their energy bounced off of each other and circulated into the crowd. By the last song, “Apollo,” Centorrino made his way into the crowd itself, hoisted up by fans while he administed some high fives and sang from that position. It was a performance that was certain to have won them plenty of new fans, and the energy as they left the stage was palpable.
That said, there was definitely a shift in tone when Kim Dracula took the stage. With an emphasis more on theatrics than energy, it seemed like the monstrous energy from Crystal Lake had dissipated. Not saying it was a bad thing, as their performance was a different style than the opening acts (as well as HANABIE.). As someone who had not really ventured into Kim Dracula much before tonight, the theatrical elements were what stood out the most. Given the hour long set, and not knowing too much about the music itself, it was about absorbing the moment. An intriguing bit to all of this was how the band took to the stage, and then Kim Dracula was ‘escorted’ through the crowd (who were told to make way by the annoucements on the speaker) in a sort of wrestling type of way.
As for the sound of Kim Dracula, it was all over the place but not in a bad way. But as more or less a first time listener, there was a lot to take in! From alternative and metalcore riffing, jazz (including a live sax player who doubled on keys), trap, punk, and electronic music, it’s a quirky mix that definitely took some adjusting to get into. Given their ‘6 octave’ vocal range, Kim Dracula presents quite a bit of variety even at the vocal range. Their presence on-stage displayed those oddities in a way that was engaging, as the music would move from, in the case of “Make Me Famous,” trap rapping to stadium rock to moshable metalcore and punishing breakdowns (which definitely got the pit moving towards the end of the set).
Some other highlights seemed to focus on the spectacle of it all. A cover of Pearl Jam’s “Even Flow” that abruptly stopped and made way for some intense blastbeats and screams in a transition, a few moments of saxophone solo spotlight for “Careless Whisper” (yes, that “Careless Whisper”), and a frequent display of on-stage props to push along the story, in addition to Kim Dracula’s flight outfit and the suits adorned by the rest of the band. They closed with “Killdozer,” and ramped up the intensity before leaving the stage, again priming for the final act, HANABIE.
After seeing the band twice last fall with a shorter set, it was nice to get a full hour again from HANABIE. as the (co)headliners. The band wasted no time in riling up the New Haven crowd, who had clearly been anticipating their performance. After their individual entrances to the stage, “O•TA•KU Lovely Densetsu” began pounding through the speakers. The band continuing to set the bar high for their live performances, their live energy is essentially unmatched. The driving tempos of the music coupled with their on-stage antics and movement is something that needs to be experienced in the live setting.
As for the setlist this time, they played essentially all of their new EP, Bucchigiri Tokyo, minus the ‘secret Chika song.’ So it was the first time I’ve been able to hear the title track, “GAMBLER,” and “Ito Okashi My Type” in the live setting. All three tracks fit into the setlist nicely, with the grooves of the title track making for some nice headbanging and jumping moments, in addition to it’s fun sing-a-long chorus. The ending of “GAMBLER” turned out to be just as heavy and abrasive as expected in it’s massive breakdown and provided a fine highlight. “Ito Okashi My Type,” a personal favorite from the EP, did not disappoint. The shifts between more upbeat and danceable moments tossed in with heavy grooves made for a real treat, due to the build-ups and frenetic nature of the track. Outside of that, their anime OP tie-in “Oishii Survivor” turned out to be an even heavier beast live. Chika’s drum battery really stood out in this track, as well as during the rare treat that they included “Drastic Nadeshiko” from their first EP, Cherry Blossoms are Blooming. Perhaps due to their 10th anniversary as a group, but it was a thrill to hear a song that didn’t seem like a likely candidate, as well as hear Chika’s drum take on it, which felt more intense than the original.
Outside of the music, HANABIE. continues to grow as a band in the live arena. Their interactions, particularly between bassist Hettsu and vocalist Yukina have been a joy to watch. It’s very obvious when you see the band that they are all having a blast up on that stage, and it makes it very easy to get into the music more. You want to be a part of the fun that they are having up there. It’s not enough to simply watch their set, you have to get involved in any way that you can. In addition to the usual antics, including the “Tousou” wall of death, beer chugging Hettsu (not to mention her running all the way off the stage to rock with fans on the side), the ‘down to the ground and jump up and dance’ fun of “Be the Gal,” and the glorious return of the punk-driven smile energy of “Today’s Good Day & So Epic,” there’s a lot of fun to take it.
The group, as a whole, seems to be incorporating more English into the set banter and distributing it more across the four of them. It was great to see Yukina hand off duties to Chika at one point, who called for the audience to scream and shout, and guitarist/vocalist Matsuri took a greater charge of banter as well at times. This distribution of duties hopefully gives Yukina a few seconds to recharge with her incredible perpetual motion of jumping, dancing, and shouting across the stage and let’s fans interact with the whole group, which is something not enough groups do enough of.
After an all-too-short hour, it was time to say good night with “Osaki ni shitsurei shimasu (Pardon Me, I Have to Go Now)” and again the crowd left thrilled by HANABIE.‘s stage presence and I retreated to my nearby hotel to rest up before another night of intense and entertaining performances.
May 16 – The Paramount
Being that it was the first time I’d been to Long Island for a concert, it was interesting to see the layout and location of The Paramount. Upon entering, it was a pretty beautiful venue, with bathrooms adorned with stylish art and an elegant interior, not to mention the large venue size. More of a quaint town that I was expecting, but a nice place with easy parking so it’d be great to get some more shows this way.
Doing another interview with HANABIE. meant that I missed Kaonashi‘s set, as well as a portion of Crystal Lake‘s, but upon coming into the venue at that point, it was a stark contrast from the more quiet and open venue before the show. Initially wandering in after doors initially opened and mostly the VIP folks were around, it was notable how much bigger this venue was than Toad’s the night before. It was also a Sunday night, which meant some people probably chose rest rather than venture out, but by the time Crystal Lake had playing, the venue was starting to fill in. The pit was already moving by the time I entered, so I scooted my way along the side to get as close as I could to have a good view. Crystal Lake hit the same marks as they did the night before, providing a visceral set with plenty of flash and energy from all members. On a fun note, everyone besides drummer Gaku (for obvious reasons) all crouched down in the middle of the stage during “Apollo” in what seemed a very sweet moment. If you are on the fence about Crystal Lake, you really should experience them live. They are sure to win you over.
Next up once again was Kim Dracula. Much of the same points held as the night before, with their over-the-top theatrical presentation being one of the highlights. Though this time it seemed like there were more Kim Dracula fans in attendance, at least from where I was standing, and there was a lot more crowd energy from the start when they hit the stage. Having a greater sense for the songs after the evening before, it was a much more enjoyable set from a personal point of view. The crazy genre transitions felt less chaotic and a greater sense of fun came from watching and waiting for the transitions to hit as Kim Dracula fired off their strong vocal range at full force. While it may not have been my thing in some regards, it was fun to catch two nights of Kim Dracula and would be open to seeing more if the opportunity arose.
It being a larger venue and a Sunday night, there was a bit of disappointment as the some of the concert-goers started to head out after Kim Draula’s set had finished. It was unfortunate, as HANABIE. still came out at full strength and delivered an equally passionate and energetic performance to the previous evening’s. Their music and on-stage personalities just hits a certain sweet spot of heavy and fun. Both of which are equally important. The same praises could be given out to the group from the night before, and admittedly, the crowd wasn’t quite the same size (though the venue was notably bigger), so it was a nice reminder of the drive this band has. Regardless of crowd size, from big to small, HANABIE. are going to deliver a set that will get new fans invested (which was once again the theme of this night with more KD fans in attendance) and have the established ones just as hungry for the next show.
The how and the why is due to their energy on stage and the very music they are playing. The music is heavy, but innovative in that it pulls from a variety of sources and makes it feel like something new and inventive. While it may not appeal to some, there’s a wide spread of appeal from the metal, rock, and even anime community at this point. Then there’s the stage act. Yukina continued to be more or less a human bouncy ball on stage, jumping, screaming, dancing, and inciting the crowd at every possible moment. Matsuri, with handling the guitars and vocals, may not be able to ping pong around like Yukina, but she carries the cool factor in her movements and actions, in addition to her musicianship. Chika continues to absolutely pound the drum kit, and it was nice to hear her more involved in the on-stage antics once again in NY. The crowd was once again very into it. Lastly there’s Hettsu, who engages in the fun factor. She’s moving around, working the crowd to ensure participation, and perpetually smiling (much like all of them, to be fair). She’s doing all she can to engage with the crowd, as well as some playful interactions with Yukina.
To make a long story short, HANABIE. has FUN on stage, and you can’t help but be absorbed and want to take a part in it too. This was the fifth and sixth show for myself in the last two years, and the group has only gotten better at what they do. Everyone leaves the venue smiling and exhausted, wanting to share their experiences and bring in new people to the fold for the next time they return. As it’s probably been said with each show write-up, do not miss your chance to see them live. Few bands are currently as entertaining and engrossing as HANABIE., and the following that they have built up is due to their dedication and incredible work ethos, and the infectious passion that radiates from them in the live setting.
So here comes As The World Dies with their brand new record Nebula, signing on as a part of the Reaper Entertainment roster. This is album #2 for the group. Unfortunately I wasn’t able to write about the debut Agonist, even though it made me a big, big fan of the boys. So today we hopefully make up for that, huh? From jump “Dark Oblivion” was the runaway favorite for me. The heaviness meets the evilness in a potent cocktail that is also dark and edgy. Sonically it reminds me of my tasty vodka shots on a Friday nite!
And for a total gear shift there’s “I Am the One”. I had no idea where we were headed, but around the 1:00 mark I had pushed my chips all in at the sonic poker table, so well done, gents. At around the halfway mark it just hits you with a flurry of sonic punches, making this another favorite. “Blind Destiny” is akin to The Thing’s description of meeting The Mole Man for the first time (IYKYK), and is a sonic hell that you probably won’t escape easily. Then of course we have the official opener in “Consumed,” which very much subscribes to the idea of ‘shoot first, ask questions later’.
There’s some inspiration drawn from Black Sabbath for “Playing God.” Whether that’s intentional or not is unknown, that’s just what these ears heard. Plus it clocks in at 7 mins plus, as does next track “Voices of Angels”, one of my go-to traits in darker metal tunes. “Under a Dying Sky” and “Final Resting Place” could not be more different at first glance…er, listen. But they fit together almost as seamlessly as salami and apples. And guess what? There’s a bonus track! Don’t care how old I get, I love a good bonus track, and “Consummation of Creation” simply slays.
Bottom line? As The World Dies did it again with this, their sophomore recording. I can only hope we get many, many more albums from these guys. I know they have many more stories to tell, so you can bet I’ll be waiting for the follow-up to Nebula.
Standout Tracks: “Consummation of Creation”, “Dark Oblivion”, “Blind Destiny”.
It’s been three years since Allegaeon released their sixth album, Damnum, which saw the band take some big steps away from some of their foundations (heavy science lyrics, diving further into some proggy waters) and it turned out to be a fantastic success. The band then parted ways with vocalist Riley McShane and former vocalist Ezra Haynes returned to the fold. The Ossuary Lens is an intriguing album to hear given some of these dynamic shifts. It brings some of the old, more visceral Allegaeon back to the forefront, but at the same time, it somehow manages to maintain the more expansive sound they strived so hard to achieve with Damnum.
Truly, it’s hard to really dissect The Ossuary Lens to the point of saying how the direction of the band has shifted, but it’s certainly 100% Allegaeon. The techy, often frantic energy of the band is here in full force, and you have to look no further than to hear “The Swarm” to see how delightfully chaotic and beautiful it still sounds. The tech battery that opens the track is gleefully dizzying as the guitars and drums urgently swirl around each other and Haynes’ aggressive barks. It’s an excellent combination of tech wizardry held together by subtle melodies that Allegaeon have evolved to a science over the years (yes, pun intended). “Dies Irae” carries with it some of the band’s more cinematic and sweeping side, only to blast off into full speed blackened riffing. Some later slowdown into punishing mid-tempo grooves serve to let the melodies truly take hold, and the showy and thrilling solo showmanship gives the track even more appeal. Then there’s the acoustic guitar drenched “Dark Matter Dynamics,” which moves back and forth between playful guitar licks and headbangable melodic riffing with a certain ‘spacey’ feeling to it. As one of the more melodically driven tracks, it’s an easy standout as the song just embeds itself in your skull.
For those thinking that the band’s evolution attained on Damnum would not be continued, there’s also a number of cuts that provide evidence of the band finding their way forward. First single “Driftwood” provides that battering ram of riffs, and opens up to an absolutely gorgeous clean vocal chorus from Haynes. The dynamic shifts here make for a riveting track, as it zips between brutality and beauty in just the right proportions. Later cut “Wake Circling Above” has an almost doomy vibe to it, really soaking in the melancholic vibes in a unique way for the act. Of course, it explodes into some visceral death metal at times but even then it maintains a more urgent tone with Haynes’ expressive roars atop some soaring synths. The shift into some clean singing from guitarist Michael Stancel is a welcome treat, and one that elevates the song further into reflective territory. Then there’s the closing number, “Scythe.” It continues further down the progressive slant with it’s clean opening (with more Stancel vocals) before it jumps into more frenetic riffing. But it works the midtempo melodies for all they are worth, with a massive sense of atmosphere that grabs you with it’s urgency yet still compels you to headbang with it’s rumbling tech prowess. In other words, a closer that is going to make you want to re-listen asap.
Allegaeon continue to show that they are one of the strongest bands in the modern tech scene. The Ossuary Lens hits just as hard as you’d like, but has such a vast amount of memorability to it that you are going to be wowed by each track. Brutal but emotive, it leans into the strongest aspects that Allegaeon have cemented into their sound over the years, and sees them continue to evolve them and swirl them into an addictive mix that expresses their continued hunger to innovate with each new album.
Returning for their second full-length, Japanese power metal act Alicetopia have been around since 2016 and released their first full-length effort, In Dreams, back in 2023. The group has more of a traditional, European flavor to their sound, outside of vocalist Minami Maria (also of Amaidantoudai), whose clean Japanese singing helps to give it an added charm. Haze of Scarlet is a solid introduction to this group if you are looking for something on the more modern side of symphonic power metal.
With riffs that pack a punch and bombastic choirs in the distance, single “Moon Misery” doesn’t take long to get off of the ground. Thundering drums and quick tempos pull the song along, with upfront melodies coming from the guitar as well as Minami’s vocals. An effective slowdown at the chorus allows for a more devastating riff structure, and a later shredding solo ensures that there’s plenty going on from a musical standpoint, while Minami soars into high range singing. “夢眩エマージ” keeps the momentum going, emphasizing the melodic guitarwork, and the impact of the choir-esque vocal additions at the right time give it a more epic feeling that contrasts nicely with the tracks frequently thrashing tempos. “Desecrate Mythology” has more classical flavor soaked into the guitar work, which reaches more into the galloping and melodic. The bass comes out to play a bit more in this song as well, giving rise to some rumbling heft at times.
These opening tracks more or less set the tone for what you will get throughout the rest of Haze of Scarlet. Some of the tracks in the second half, such as “Moments” swing more towards the melodic side. There’s some prominent bass, in addition to the swirling melodies that come from the combo of Minami’s range and the intriguing guitarwork. “Rays of Fate” stands out as the closer because of it’s triumphant tone, sending the album into a rousing conclusion with it’s strong, fist-raising chorus.
Those seeking a new entry in the symphonic metal category would be wise to turn their ears towards Alicetopia. Haze of Scarlet provides copious amounts of standout guitar melodies and intriguing vocal lines all bolstered by a cinematic scope that still allows the musicianship to stay at the forefront. It’s a thrilling formula that should grab the attention of both eastern and western power metal fans.
After their last album, Damnum, vocalist Riley McShane left the band, and some were surprised to hear that former vocalist Ezra Haynes was reunited with the act. After some touring, he was officially reintegrated into the band and now we sit on the precipice of their newest album, The Ossuary Lens. We spoke with Ezra about the ins and outs of his return, his perspective on how the band has changed through the years during his time outside of it, the importance of passion and emotion, and lots of details about their forthcoming effort.
Dead Rhetoric: Having left the band and then coming back to it, what was that feeling like?
Ezra Haynes: A sight for sore eyes. It was a lot more clear. I was able to retain a lot more information. I was able to be passionate about it again, which was really nice. Towards the end, before I left, it wasn’t really there. I was dealing with a lot of substance abuse-type shit and going forward into this next phase of Allegaeon. It was nice to be able to soak it in and be clear headed. To be able to forge cool relationships and remember those relationships, because that was a big part of the past…not being able to remember a whole lot. When you are touring the same places you start meeting people. People are people, so they are only going to give you so many chances before they are pissed at you for not remembering who they are. But as time progressed, it just became naturally easier after I got back in the saddle.
Dead Rhetoric: Given the vocalist change, which tends to be a sticking point for some people, do you think coming back into the band helped to soften the blow considering people were upset when the first split happened?
Haynes: I would hope so, and I mean, from what I saw it…from my vision, it seems all very positive. It seems like with new singers, because it’s a voice, it dilutes the band as they do it each time, until something hits. For instance, Lorna Shore. I’m pretty sure that they have gone through tons of vocalists, then [Will Ramos] comes in and they just blow up. I think it can be hit and miss a lot, but with me getting back into the group, it was easier for the fans to handle since I am a familiar voice with three albums under my belt. It was probably nice to hear that, rather than somebody else who was a new face to get familiar with. People don’t really take to change all that well.
Dead Rhetoric: From your perspective, how does the band sound now compared to when you left it?
Haynes: Allegaeon has always been super complex. Everyone thrives on it. It’s a shredding contest, and I think what commonly is said, is an evolution. I would have to say that it’s true. I’m noticing from then until now, it’s a big contrast. I use this a lot, but I think it fits so well: you look in the mirror every day and you don’t see that change. If you look in a mirror three years from now you are going to be like, “holy shit, I have aged!” So I have that unique perspective on this, since I was in it for almost a decade and when I was removed, I was completely removed! I did not listen to a single metal song. There was not a single metal song in my life. I was on a totally different warpath. To come back to it and not only see how everything has changed, not only touring-wise, writing-wise…now everyone has routine. Everyone is used to their roles and we have all grown accepting of what we have and how to do this thing that is Allegaeon.
Really, I think the big difference I see is not to say that it was one-dimensional before, it was more ‘simple,’ not to say the technicality wasn’t there, because if you listen to the recordings they were more straight-forward. Now if you listen to Damnum or if you listen to The Ossuary Lens, then you have this depth that is different. It’s because people have become so accustomed to their role and they are able to apply brain power towards other things, to make it feel like a nice overall project. There’s a depth and recurring themes and just a lot of thought. Before maybe we were just excited to just get that shit out. Now we put in more time and effort.
Dead Rhetoric: You said you weren’t listening to metal for a long time. When you went through that period, what made you say, “Hmmm maybe I should go back to metal?”
Haynes: The last time I really actively listened to metal was when The Black Dahlia Murder was popping off, The Red Chord, All Shall Perish, Planetary Duality by The Faceless. So it’s been a handful of years. I have always, in my heart, listened to pop or really aggressive rap. I’m a hook-driven person. I need a hook, I need certain cadences, certain types of emotion involved. More popular music tends to nail that, that’s why it’s popular. To me, music translates via emotion, so I have to have some kind of emotional investment for the music to really work for me. I always kind of say that my first two albums were Guns n Roses Appetite for Destruction and Ace of Base The Sign. It still bakes through to this day.
To answer your question specifically, metal might be my calling. It’s more the passion thing. If we only live once, or a thousand times, as far as we know we are just walking this planet the one time that we can physically experience. To me, that time should be used on something you are passionate about, regardless of income or whatever. If you connect with it and it makes you happy and prosper, then you should do that. For me, it’s my performance. The interesting thing, when I see myself, I don’t see myself performing any kind of rap or pop. What I do connect with is that angst. Being able to do that, and there are these different songs with different themes, so I can almost transport to a different individual for each song, I can just go into the zone – it’s not even fucking me!
When I’m onstage, it’s kind of a different thing. That I really link with, I really get off on seeing crowd participation, so I try to incorporate that into the sets. I like seeing people react to something I created. So getting this potential at the time, to get back into the saddle for Allegaeon, it reignited that. The music that I listen to, I love. I do nod towards metal because I do it and I do pay attention, so don’t get it twisted [laughs]. I know what’s going on out there. But it’s more of a passion for the creative process and the entertainment. I like to rock the fuck out and headbang with no hair. It’s what I do!
Dead Rhetoric: One might argue that the passion comes out a bit more with a live metal show, than a heavily produced pop show where vocals are being lip-synced and that sort of thing.
Haynes: I’m huge for large productions! If you give me pyro or lasers, I’m in! That big movie vibe! The theatrical elements. But maybe it’s a part of my upbringing. My first show was The Vandals. A punk show, and it was very ‘knock ‘em down and pick ‘em back up and crowd surf.’ I was crowd surfing very young, bumming cigarettes as a degenerate. But that was my gateway more into the metal shows. That same mentality carried over, if someone falls pick them up and everyone is very accepting and loves each other. I would probably attribute that to why I am also so gravitated to that performance aspect in metal. It’s still that environment, I really dig that environment.
Dead Rhetoric: What makes The Ossuary Lens stand out to you as the latest album, personally, other than it being the first one back for you in quite some time?
Haynes: Probably just that, it is personal. Every album I have done with Allegaeon is personal. A lot of the topics are science-related at least in some fashion. A lot of the older material, it was harder for me to fully lock in emotionally with. Since it’s about those types of topics. You can’t really be said about evolution [laughs]. I guess you could if you just thought about it…so picking these types of topics, to a lot of listeners it’s more sterile since they are more of a textbook thing. For me to gain an emotional investment in, [I had] to stretch it to something I felt. With The Ossuary Lens, I think that is where it ended. Now it’s more interpersonal. I was able to lock in some of the stuff I have gone through in the last decade or just other experiences in life. Being able to touch on those topics made it a lot easier and more fun, since I was more emotionally invested. I had that competition really for myself. I realize now that I’m talking about it out loud, I wanted to outdo myself and I feel like I did. Lyrically, the more interpersonal connection with respect to the older ties. We’ve got “Dark Matter Dynamics,” “Chaos Theory,” and there’s a bunch of science shit in there too, but there’s an emotional investment.
Also the gaining of routines, I feel like we sonically have achieved a greater depth than we have achieved before. What I mean by that is riffs and things that can tug on your heartstrings more than what we have done before. If there is one thing I’m a big fan of in music, it’s tugging on heartstrings.
Dead Rhetoric: That’s interesting, and something I wanted to touch on actually. With the last album, Damnum, it moved away from some of the heavy science aspects of the lyrics. Did you use that as an opening to make it more emotional? You mentioned before how important emotion is to you, personally. That you wanted something you could feel.
Haynes: I’m so stoked you even said that. I thought that was my secret [laughs]. That’s absolutely it! That’s something I absolutely have to give kudos to Riley [McShane] for, bringing the emotional element into Allegaeon, which is something I really always wanted but it never called for it. The timing couldn’t have been more perfect with where I am at now. I have 8 years of sobriety under my belt, tons of learning and life experience. I get back into the group, and what I am following up is Damnum, which in my opinion is their most elite work ever. Of course, it’s interpersonal, which is so fucking cool.
So I was like, “Okay, so you are saying I should touch upon those subjects.” So honestly, if you think about Allegaeon as a product, it’s kind of a cool story. There’s a severe situation that happens, of course the group is still able to maintain a good trajectory, then for me to step out and get my shit together and dust my shoulders off and hop back on the saddle and give it my all…I feel like it’s a great story. That’s why I consciously made the decision to be so open about it. I think it will connect with a lot of people. Overall I think it was a really good decision.
Dead Rhetoric: You did throw down some clean vocals on a few tracks, now that I have heard the whole thing. Is that something you wanted to do to spread your wings, so to speak? Looking at what had been done back when you were out of the band…
Haynes: So, again we are following up Damnum [laughs]! There’s that. So here is what I would say to all of that. First and foremost, Allegaeon is a death metal band. When the decision was there to do the clean thing, I really chose the death metal outlet because that is my thing. That’s what I do. Do I have mad respect for singing? Yes I do. Do I think we need a ton? No. Keep it kind of out. I am down with it here and there. Sometimes the song itself really calls for it. Going into writing this album, it was something that was in my mind, if the opportunity presents itself, then we will spread our wings there. I was listening to all the demos and at the time, “Driftwood” was called “Banana Republic,” because when BooBoo [Brandon Michael – bass] writes demos he names them after stores in the mall [laughs]. This one is called “Abercrombie and Fitch” this one is “Hot Topic” over here. So this one was “Banana Republic.” I gave it an honest listen and there was a lead in the chorus that made my heart cry. Naturally as I was writing, I wanted to follow that lead in the chorus, and we got to the writing retreat, which is where we tear apart everything. It was decided to make it the single, but it was also like, I almost couldn’t write anything else because that lead was so fire! I had to do it, so I ended up stealing it. To really get that lead, it needed to be sung. It was a really interesting experience, because it was a growth period, but it was nice to get it out of my system.
The other singing that happens on the album, and mind you, the entire album isn’t full of singing. But there are couple songs on it. It’s me on “Driftwood,” but Mike [Stancel], that’s something we really wanted to lean in on. That was the thing. Over COVID, he taught himself how to sing. He has his other project, Harboured, and he’s just so well-versed. Why restrain someone like that? Let them fly and do what they excel at and we all win. So he took over a nice chorus in “Wake Circling Above,” and it came out so good. I’m really glad we leaned in on some of Mike’s singing as well. He murders them!
Dead Rhetoric: Elements of the Infinite turned 10 last year. What do you remember about putting that album together that has stuck with you, particularly with you coming full circle to vocals?
Haynes: The thing is, I don’t remember a lot from that span of time. It’s from when I was getting heavier and heavier into it. It was a year later that things really hit the ceiling, or whatever you’d like to say. Mostly, it’s recording the video for “Threshold.” It was fun and on the beach. The whole thing cost us like $30 because of Taco Bell for food. We recorded it on cell phones and a shitty camera. We leaned in on making the best out of something that was garbage. It was like, “Ok, I’m going to toss this footage into Final Cut and just try to learn the program.” So that’s all I did and that’s why it’s so chaotic and dumb. I love it. I can’t not have a handful of conversations about those videos.
That was really when Stancel and [Brandon] Park got involved so it was like a new phase of Allegaeon, so it was kind of a 2.0 in that sense. A lot of younger input, Stancel was only 19 at the time, he was a child. I don’t know, I do recognize it was the most monumental thing that I was a part of so good vibes all around, but I had some learning and growth to take on there.
Dead Rhetoric: You mentioned the videos, and I was going to mention “Iridescent” which was released last year in the same silly vibes. Do you find that your more humorous videos tend to stick with people?
Haynes: Yeah [laughs], so in death metal you want to be a badass. Black everything. I realized that I still, going out on the road, I’m still talking about crabs. I have realized that as time progresses, I will start talking about hot dogs. So when we do those things, they are memorable, but when I sit down and analyze Allegaeon shit and the visuals, to be honest, I really like the evil, brutal elements. I think the other videos are fun and we will continue to do them because that’s what we are now, but they are also very easy for us to do. We are naturally dipshits. The next video is not as serious. It’s more on the funny side. They tend to be more memorable because it’s natural to is.
Dead Rhetoric: Going along with the ‘melotech’ description, which I believed you were quoted with on the promo, do you view Allegaeon as a stepping stone for people to get into more tech bands? I have always found Allegaeon to have that tech sound but more memorable than a lot of the super heavy stuff, personally.
Haynes: I never thought of that. I have my stepping bands too. It’s interesting that you say that. We are 17-18 years old and we have quite the discography already, I guess so. I think the reason why it’s memorable is because we do apply more of a traditional structure to our writing even though it’s super techy and you can get lost in that. It’s still structured, and because of what I listen to, probably, that’s going to be my biggest influence. I do purposely write for attention. I write to be hooky. When I am trying to drive home a chorus, I don’t fuck with the whole prog shit. The boys do, and they can do that with their instruments, but as far as vocally, I want something that is repeating. I want something that hits hard and has good contents. I think that’s the way I write.
I listen to a song and I bop my head and I start spitting out fake words and making shit up on the fly. Then I will throw a cool word in there, and it’s about finding a cadence I really like that makes me bop my head. In “Driftwood,” during the bridge after the second chorus, that is the most weird, crazy proggy shit going on and to me, I’m almost keeping this four on the floor, but not really, but this driving force that’s going to continue it. I think it’s probably because I specifically, lyrically write to be memorable.
Dead Rhetoric: I think that’s something that, to be totally honest, I think a lot of bands could learn from. There’s certainly a crowd that will follow the techy stuff forever off the cliff, but I have found that as I get older I just don’t have time for the chaos.
Haynes: Exactly, that’s what is really working in our favor. A lot of bands write riff after riff after riff after riff after riff. We are like, riff riff chorus riff pre-chorus riff bridge…not to take away from other groups, but we don’t lean too hard on being too crazy.
Dead Rhetoric: You have the tour coming up soon, but what’s going on for the rest of 2025 for Allegaeon?
Haynes: We will have a couple more video releases leading up to the tour. The tour with Warbringer this spring is going to be amazing. We have laser focus on Europe for this fall. Also, really nodding towards some markets that we haven’t really touched. Japan is on our radar, Mexico is on our radar. I’m hoping we can hook up to Finland when we go to Europe. South America, we want to hit these markets that don’t have the biggest metal presence or don’t have as much opportunity. Looking at our analytics, it’s kind of wild!
A lot of our listeners are not from the US. It kind of makes sense with our techy jazz. But it’s in countries that you wouldn’t think. Like why are we popular in Egypt? We want to focus on broadening our market on a physical standpoint, other than just audio. I think the next two years are going to be busy. We made some internal changes and we are now self-managed, and made some other structural changes, which I think is all going to work in our favor. I don’t know, I think if history continues to serve us right, we should be hitting some bigger opportunities soon. I’m hoping, and fingers crossed there.
Dead Rhetoric: It’s nice that you took the time to look at those analytics. The running gag of ‘the world tour’ as hitting America, Europe, and maybe parts of Japan/Asia.
Haynes: There’s a lot of markets. But you can’t expect a band that is based on science to not have any idea or strategy in motion. However we can develop that strategy and set ourselves apart from other groups, I think that is the key to longevity here. We already have so much music and have been around for a while, we aren’t a new thing anymore but it’s how you can always breathe life into it. So that’s the main focus for this album cycle.
Literally a case of being a brand new band, Undying Words only formed on December 13, 2024. The Japanese band released their first single, “Soukoku ni Saku” was released that same day. Fast track to now, and the band has already released their first EP, Raven in the Abyss, a 5 song introduction to an act that already seems to be one that is going to generate some hype in the international waters. Undying Words has a modern and innovative sound that modern metal fans should be instantly drawn to.
Much like some of the more fascinating acts coming out of Japan currently, it’s hard to really put a pin in what Undying Words is doing. While the modern metal classification works, there’s bits of metalcore, groove metal, power metal, melodic death metal, and sprinklings of stadium rock and jpop all await the listener on these five songs. It’s an addictive combination of influences that meld into something that feels fresh, visceral, and melodic. “Soukoku ni Saku,” as the first taste as single and lead-off track, launches with some heavy grooves and electronic augmentation. Vocalist Kasumi wastes no time in showcasing her prowess, from sultry croons to soaring power metal influenced falsetto to snarling growls as the track barrels along with just as many musical switch ups. The guitar melodies from Eita frequently earworm, and the massive grooves hit with plenty of power and are aided by Aya’s rumbling bass. Said basswork reaches out and provides not only support but takes moments of the spotlight as well.
The rest of the EP is equally strong. “Syurabasara” slides with graceful guitar melodies and it attracts a more power metal vibe at times, with upbeat tempos and hook-driven vocal lines, until a literal gunshot drives it into groove territory and an electronic buildup. “Dawn Rebels” might be the current favorite for this scribe, with it’s elegant guitar melodies inserted into a frantic melodeath formatting, diving into thrashing tempos before a more gentle chorus that serves to later escalate things by the drum battery from Kano. The melodies are incredibly playful in this track, and it’s headbangable breakdown later gives it some added dynamics, as well as a standout solo. “Bad Trip” simultaneously provides some of the most electronically boosted and heaviest moments on the EP. There’s a lot of swirling melodies, and the grooves are intense as the song progresses. Final cut “UNDYiNG” slows the tempo a bit to give the melodies even more room to bask in the light. Kasumi absolutely soars on this track, particularly in the chorus, as the riffs provide one final thrill.
Undying Words comes out and solidifies themselves as an act to keep your eye on with Raven in the Abyss. The genre-blurring keeps the music consistently entertaining and attention-grabbing while still being coherent. The musicianship and vocals are top notch and bound to stick with you after one listen. In other words, there’s a lot to appreciate. It’s fun, ear-grabbing, and tosses in just enough heaviness. There’s a ton of promise as Undying Words moves ahead with more material, and this 5-song EP is a perfect introduction to what they are capable of.
