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.
Thirty years into their musical career, it doesn’t take much of an introduction to cover Arch Enemy. Blood Dynasty is their twelfth album in as many years, and the perpetually prominent act has continued along despite some member changes through the years. The latest transition, and first in quite some time, has been the departure of Jeff Loomis and replacing him on guitar is that of Joey Concepcion. While Blood Dynasty continues to follow the usual pathways for Arch Enemy, it also has a few tricks up its sleeves that established fans should enjoy.
There are certain facets of the Arch Enemy sound that simply aren’t going anywhere, and that’s okay. Michael Amott’s flashy and identifiable guitar melodies and soloing have been one of the group’s standouts from the beginning, and they still continue to provide a number of highlights. “March of the Miscreants” features a high-flying and notable solo in its second half that features all of the staples you’d expect from the group, in addition to the song’s soaring riff patterns and headbangable chorus. “The Pendulum” dellivers the group’s punishing intensity when they go for the mid-tempo grooves, merged with the flashy guitar heroics. The title track sits as a solid reminder of a ‘classic’ Arch Enemy track, with it’s flowing melodic leads, stomping tempos, and standout solo, as well as an anthemic chorus.
But there’s still some noticeable differences this time around too. There’s a bit more adrenaline to be had through a number of the tracks, starting with the thrilling opener “Dream Stealer,” as well as stadium rock power of “Paper Tiger.” “Illuminate the Path” gives vocalist Alissa White-Gluz a much larger opportunity to display her clean vocals and it makes for a riveting power metal-esque chorus that is sure to become a live favorite. Probably the most notable track on the album is that of “Vivre Libre,” which again features some clean vocals sung in French (it’s a cover song). The slower pacing and greater emphasis on clean vocals make it stand out significantly, though they have done a great job of making the cover their own.
Blood Dynasty showcases Arch Enemy still has plenty of drive and hunger in the tank, 30 years in. It’s a great mix of some of their signature melodic death metal sound, with some increases in both tempo and heaviness, and some outside-the-norm melodies. It all comes together for a compelling listen that proves that Arch Enemy are still a force to be reckoned with in the metal scene, and worthy of the continued hype.
A new-ish entry from Japan in the symphonic metal category, though according to the band’s own description it’s ‘symphonic metalcore.’ But regardless of subgenre, Fathomless Skywalker has been slowly moving towards this first full-length since their 2017 inception and releasing an EP in 2018, with several singles ever since, leading up to Anthems of the Resilient. What you will get with Fathomless Skywalker is a modern mixture of power metal, bombastic symphonies, a nod towards some melodic death metal and some modern metal as well, topped with operatic vocals from Chihiro.
The band’s varied influences reflect an often energetic and potent mix of fiery metallic landscapes melded together with vivid symphonic backdrops. The orchestral arrangements were worked on by Freddy from melodeath act Serenity in Murder, and the visceral riffing patterns make a thrilling combination. One of the stand out songs, “Pirates of the Fathomless Sea,” has that seafaring atmosphere to it, but the introduction of winding riffs and soaring melodies. Some of the guitar melodies capture that old school In Flames feeling to them in a way in how jovial they sound. “REVOLUTION” starts things off with all guns blazing, with boisterous synths trading blows with heavy riffing, while Chihiro provides a potent operatic voice, one that carries plenty of weight and can hit all the proper high notes with flair. This is a track that has a more modern and thrashy feel to the riffing at times, giving it that urgent vibe as it clashes with the more traditional bombastic sound. Some properly place gang vocals only amplify the energetic flow of the track.
“POWER” is a cut that feels very European in it’s guitar melodies as well, as the uplifting nature of them has that classical sound, nodding towards NWOBHM while the thunderous impact helps it to stand out a bit in a modern way. “Paradiso” concludes things in a more classical meets metal way, delivering bombastic elements of a classical music nature while the guitars buzz equally in the foreground, while the soaring chorus should make power metal fans quite pleased and want to hit the repeat button instantly.
Similar to an act like Lovebites in that they have plenty of frantic guitar shredding and European influences nodding in their Japanese symphonic metal, Fathomless Skywalker should easily grab a foothold with a wide variety of metal fans. There’s a heavy enough feeling to pull in some modern fans, the guitar heroics to earn favor with the more traditional heavy metal crowd, and still hit the marks for their symphonic and bombastic approach. Anthems of the Resilient is a solid debut that Fathomless Skywalker can build on and grab some international ears as they continue to fine-tune their intriguing take on symphonic metal.
We’re excited to partner with Massachusetts stoner thrashers Asasara on a giveaway of their latest EP 777, which was recently just released on vinyl and tape. Give this smooth and riff-filled rager a listen:
Grand prize: One (1) copy of 777 on vinyl.
Runner-up: One (1) copy of 777 on tape.
All you need to do is fill out this form and enter 777 in the answer field! Be sure to enter by Tuesday, April 1 to have a chance to win!
The Bay Area may be best associated with thrash metal, but it’s always been an active musical community in many other heavy genres. Coming from the hardcore scene while injecting that muscular thrash component, Doomsday has actively been cultivating a sound that really engages the listeners. Energetic and crunchy with the perfect amount of call-to-action gang voices, breakdowns, and two-step transitions, their latest album Never Know Peace showcases a current band taking decades of influences with their own personal experience to meld a sound that many will not resist. We were able to have a conversation with vocalist Charlie D. about the formation of Doomsday, the band’s outlook on their crossover sound, albums that formed the DNA for the new record, differences in the old versus new breed of crossover thrash, concerns for the community in general, and what’s in store for live touring.
Dead Rhetoric: Describe your life growing up in childhood – what are some of your earliest memories surrounding music back then, and when / how did you make the progression into heavier forms of music, and eventually the desire to perform in your own bands?
Charlie D.: I grew up in Puerto Rico. Metal really wasn’t a big thing over there, it was mostly reggaeton and salsa, all the Latin music. My dad is a big metalhead, he loved Metallica and Iron Maiden. Growing up I would listen to what my dad listened to, basically. Once I moved to the states when I was 18, I got into the hardcore scene over here.
I didn’t know anything about music and performing, it was just some of my friends at the time who invited me to a show. There was this band called King Nine, from Long Island, New York. It was the scariest moment of my life, that show. There was a moment where this guy was getting swarmed by eleven dudes because he was just being obnoxious and drunk. Everyone was windmilling everywhere, throwing hands and I thought it was the coolest thing that I’d ever seen in my life. I just had to start a band and keep going to shows, and eventually started a straight-edge band with Joseph, the singer of Sunami, that one big hardcore band. That didn’t last too long, but then I met Ryan, our guitarist, and we just had this mutual love of this band Iron Age from Texas. Without Iron Age, Doomsday would not exist, and I would not be making music at all, the influence starts from there.
Trying to do something different in the hardcore scene, we wanted that metal tinge but still having breakdowns and two steps. Now it’s gotten to the point where we are writing all these crazy solos, these crazy parts. The metal influence is showing way more than the hardcore influence at this point. I don’t know if it’s intentional, but it’s really cool to see the progression of the band with this new record. This is a metal ass album, and I’m super excited for it.
Dead Rhetoric: Never Know Peace is the first album for Doomsday after delivering a series of EPs, singles, and demos over the years. How did the songwriting and recording sessions go for this set of material – and where do you see this record sitting in the catalog for the band?
Charlie D.: I think this is the best (material) that we’ve done, so far. When it came to all the other stuff we’ve done, from the first EP through Depiction of Chaos, a lot of it was writing riffs and songs. They would send me the tracks, and I would pull out a thesaurus, and I’m going to write all these intricate lyrics. It was taking what Ryan had sent me and trying to do the best that I can as a lyricist to be all intellectual. When it came to this album, we wrote it with a lot more purpose. Every song has its own vibe. I can only speak on the lyrics – I’m a horrible musician. In the other band I’m in, I’m not even the best bassist in the band. We wrote every song with a lot of intent. When it came to the lyrics, I wrote stuff that matches with what Ryan is bringing to the table through each song. Trying my hardest not to recycle the same kind of imagery I had been doing before.
When it comes to metal, you can only write about so much stuff. I’m writing about demons, war, and I feel like when it comes to this album, I feel like this is the best material I’ve written. The solos, the breakdowns, everything – I truly believe this is the (greatest) thing that we’ve done so far.
Dead Rhetoric: As you mention, it’s a challenge to develop fresh ideas consistently within the metal realm. Is that why you draw from your own personal experiences and view points to make things more interesting?
Charlie D.: Yeah, 100%. When it came to the single we just dropped “Never Know Peace”, I mentioned in another write-up that I don’t want this band to be afraid to be vulnerable. I want to have moments of going through something real, and something that everyone goes through. The lyrics are about me being in the lowest point of my life, and wanting to… commit (unsafe behavior). I really hope that I could somehow help someone when reading that, that they are not alone. For the next song we are going to release, it’s the other side of the coin for mental health, you are feeling that way, but don’t give up, you got this. I feel like that song is one that if we somehow ever perform in a stadium, I want that song to be one that people sing back to us. I want to continue with those topics in the band in the lyrics we write. I want to be real.
Dead Rhetoric: Ripped to Shreds guitarist Andrew Lee contributed two guest leads on “Holy Justice” and “Remnants of Spite”. Did this come about through Ryan’s status as well with the group, and what do you enjoy most about Andrew’s work that colors those songs in a better way?
Charlie D.: Andrew is insane. We recorded a bunch of stuff at Andrew’s place, his little recording spot. Ryan asked him to do a guest spot. Anytime I watch that guy shred, be it through Heavy Metal Shrapnel, Houkago Grind Time, all this stuff, he’s a literal savant. I don’t know how he does that stuff. To me it doesn’t matter what he ends up doing, I know it’s going to be good. I’m super appreciative of him taking the time to do that. It was just as cool as him having me shout in his basement.
Dead Rhetoric: Where did you want to come across with the cover art for this record?
Charlie D.: Originally, I had this whole vision of the artwork to be striking, iconic. I look at the South of Heaven album cover, and you can take away the album name, you can take away the Slayer logo, and you know what album that is. I wanted things to be more abstract like that, single-minded. When I contacted Spencer Davie, an Oakland artist, I was trying to find an artist and he had the exact type of color palate and paint strokes that I liked. I gave him some ideas, and he sent a sketch of things that wasn’t exactly what I wanted, but was way better than what I was thinking. I wanted to be like our own thing, and I feel this captures the album name. This necromancer, he’s raising the hordes of the dead. They don’t know anything, they just know about war. He’s an amazing artist, and I hope he gets way more people hitting him up.
Dead Rhetoric: You mention in the background information to this record that it’s a love letter to every record we grew up listening to, while still being us at the core. What are some of those albums that form the essential DNA to Doomsday, and for a follow-up – what would you consider some of the essential elements that have to make up a composition for the band?
Charlie D.: We were listening to a lot of South of Heaven, Chaos A.D., a lot of Iron Age, a lot of Metallica, and wanting a lot of what we heard in those albums. I wanted it to be dope, but I didn’t want it to be a cookie cutter version of those albums. One of the songs that we are releasing, I stole something from Live Undead. I am more than fine with taking that and making it my own way. We listened to the rest of the song, and we understand why borrowing that part makes sense, it’s not like we are just ripping stuff off. Imitation is the best form of flattery, they say.
When it comes to trying to write for the record, we want to be like a hardcore band in the end; at the same time, I feel like there’s no way we can’t not put a two-step part, a most part, that’s our roots. We want to have those elements there, because we are going to keep playing hardcore shows at the end of the day. We want to have those ass beater parts – but we want to have some dual leads, dual solos. We still want to keep the same ethos of the band like when we first started. This is going to be a different thing, we will have these crazy parts, lyrics that not a lot of people do. We are trying to do stuff that we like at the end of the day.
Dead Rhetoric: How would you describe Doomsday when it comes to your live performances versus what people hear and experience on the record? What do you want people to take away after seeing you live – and what have been some of the more memorable or standout performances for the group to date?
Charlie D.: At least for me, I like going all out. I want to be really active, really intense. I want the people seeing us to feel how I feel. I’m super pumped; I want this to be an energetic time. I’m not going to have other people feel that if I am just standing still. With the record, we wanted that feeling to be on the record. A more intense, energetic sound because it wasn’t matching up all the way to how we were performing live. We were more amped; we could be doing way more on the record.
As far as shows, we just did a couple of shows with the Warriors at Cornerstone, and one was at the Great American Music Hall. One of my dream venues, and those were a lot of fun. We played this one show in Lubbock, Texas. I had never heard of that town in my life, and it was in a small tattoo shop. This was a run we did with Denial of Life, another dope band. It was a small, packed-out room of people just going apeshit. That’s one of my favorite things to experience, going to a new city that I have no preconceived notion about, and it being the greatest time ever. We did a three-day run with Fugitive, that was great. There are a lot of shows. Every show I’ve played in Oakland, dope times.
Dead Rhetoric: Being a part of the Creator-Destructor Records roster since the 2022 Depictions of Chaos EP, what are your thoughts on the staff, their outlook on the genre, and what they’ve been able to give Doomsday in terms of a bigger profile and footprint in the scene?
Charlie D.: Shout out to Ben who runs the label. We hit him up, we emailed him telling him we really liked his label, let’s do something. He got back in touch the same day, saying this was sick, let’s do this. He has turned out into our biggest supporter; he’s an amazing friend. He has a great ear for music, every single band he’s put out, he knows what sounds good. He knows exactly what to put out. He’s put out Gulch, Sunami stuff, Iron Front, and those kids go to make the scene better in the Bay Area. He is releasing music that he believes in. He is one of the biggest reasons the live hardcore and metal scene in the Bay Area is in my opinion the best in the United States – maybe even the whole world. His efforts, ear for music, and being a down-to-earth dude.
Dead Rhetoric: Did you have any trepidation going into recording the Metallica song “Trapped Under Ice” on your self-titled EP from 2023?
Charlie D.: I’m still waiting for that email. That’s my favorite Metallica song. It has the greatest two step part towards the middle of the song. I may record another Metallica cover. I am nervous that one of these days we are going to get an email from Sony Music, telling us to cut it out. Even with the name Doomsday, we were trying to think of a bunch of names to start this band. One of them was going to be Twisted Fate, and I thought Doomsday was cool. It just stuck, and I was going through Spotify and there are like fifty other Doomsdays. What have I done? Thankfully I feel like we are the Doomsday now, with enough effort. Hopefully Metallica sees that and won’t sue us for everything they have.
Dead Rhetoric: Where do you see the differences between the first generation of crossover thrash artists and the current generation that are bursting through? Do you believe the diversity of influences has contributed to more acceptance of genre blending?
Charlie D.: 100%. Look at us. When we first started this band, I didn’t think about the thrash aspect at first. I wanted riffs, I wanted solos, in a hardcore band. Then it just became, we noticed a lot more people in the (thrash) scene accepting us. Okay, that’s sick! Bands like Enforced, Dead Heat – I feel like Dead Heat are very similar to us, coming up through the hardcore scene, doing a sound that they liked a lot. They like the Crumbsuckers, Suicidal Tendencies, stuff like that. But still wanting to blend their own sound to it, and I really relate to that because I was having a conversation with my friend Ace who is in another band called Mutually Assured Destruction. I really hope that there is another boom for thrash.
At least off the top of my head, I’m still stuck on the old stuff that I like, but I’m not noticing a lot of newer acts that are really trying to go all in on thrash 100% at the level we are at. Dead Heat, Enforced, Pest Control, I want to be right besides them. I want this genre to keep going. It has literally everything – you can do anything with a thrash band, and it will be the sickest thing. This is one of the few genres where you can take a lot of risks with what you are doing, and still be a thrash band at your core. I hope our little drop in the water is a good contribution to the scene.
Dead Rhetoric: What do you consider some of the biggest challenges the group faces currently?
Charlie D.: When it comes to challenges, we had a conversation with Ryan and I last year. What do we really want to do with this band? This could be really dope if we keep working as hard as we are doing now. But what do we really want to do? Are we going to quit our jobs for this? Hit the road – and we were super scared about leaving our lives behind for our band and our music. We had a long ass conversation, and it just came out that we have to be down for this. I feel like our biggest challenge is how do we get more into the metal scene outside of the current hardcore scene. I will play a hardcore show in a basement or outside anywhere. I will do it anywhere, anytime. I want to also embrace that metal side of us and also do more of that stuff. How do we break into that world even more? Not just be a hardcore band with good riffs.
Dead Rhetoric: What are some of the biggest worries or concerns you have about the world that we are going through today? If you had the ability to get the common person to focus on one or two key aspects to make their community or world a better place, what do you believe needs to be worked on the most?
Charlie D.: I feel like I say this at every show. About how the only thing that we have is each other, the community. Especially within the hardcore community, the only thing we really can depend on is ourselves. We are getting stripped of a lot lately. My trans friends getting their rights taken away, genders getting changed on their passports back to like what they don’t identify as. Women’s rights, or what is happening to Palestinians. I say almost at every show, Doomsday stands up for a free Palestine. The most important thing you can do is use your voice. You can have what you might think is no impact, or x amount of followers – but if you believe and stand up for something, you should use your voice. There are so many people that don’t and have that taken away from them against their will. Being louder in what we want. Not just on the internet. Not just posting something on your stories. Actual, tangible change. A tangible contribution.
Dead Rhetoric: How do you see the next twelve months shaping up for Doomsday as far as promotion and activities?
Charlie D.: We are planning a four-day record release tour with our homies in Iron Front. We announced some of the shows – one with Despise, Age of Apocalypse, which will be at Neck of the Woods in San Francisco. Just confirmed two more shows in Sacramento and Oxnard. We are trying to figure out the last date. We want to hit the road, hard, this next twelve months. I can’t wait to figure that out.
Togenashi Togeari (トゲナシトゲアリ) has gotten some considerable coverage here due to the complexity that they have in their particular brand of rock. This scribe came upon them back in 2023 with their first singles “Nameless Name” and “No Rhyme Nor Reason,” because of the distinctive 3d animations for their first single and a compelling need to check out more anime-based bands. After a steady stream of singles that year, leading into 2024, the group had a strong collection of tracks before the anime Girls Band Cry even started in April 2024. To the point that released a full album, which gathered the singles together in one collection (Togeari). All of this background goes into this 1st One Man Live (the equivalent of a solo headlining performance), as it was done on March 16, 2024 at 1000 Club in Yokohama. A month before the anime began airing.
So in that regard, this 1st One Man Live: Prelude to Twilight was meant to do two things. First, it provided an intimate showcase (a 1000 person venue) to fans who had checked out the group prior to the anime’s release and give them a shot to get some more growing buzz. It also provided some first listens and a preview of the anime itself. As you view the live show, after “Hurtful and Painful,” there’s a sizeable portion of the show where the five members of Togenashi Togeari introduce themselves, both in a video portion with the character their voice and an introduction for themselves live in the venue. There’s several portions where they will stop playing and you can see short preview portions of video (with one time the group is amusingly ducking off to the side while it plays). It was also the first time that anime OP “Wrong World” and ED “I’m Nobody” would have been played live. So this would have been a major treat to anyone following the group to get this sort of scoop one month in advance. Hearing the crowd reaction after the encore to watching the first few minutes of Episode 1 of Girls Band Cry, through the OP, was a fun experience to hear the “ooooohs” and “ahhhhhhhhhhs” as real-world locations popped up and the vividly animated opening sequence flowed across the screen.
But that’s enough about the set up, let’s talk about the live performances themselves. TogeToge essentially plays all of their available songs up to that point. All the previous singles get a shot to shine, and the band itself is impressive to watch. Consider that Togenashi Togeari was formed from a talent search back in 2021 by Toei Entertainment to form a girls rock band, and no experience was required to apply. There was little live experience prior to this gig, though you’d never know it by watching. The five members hit all of the notes, and do so with plenty of energy. There’s a large amount of stage presence, which you can check out in the video for “Bleeding Hearts” below, and see how Shuri’s basswork is just as ear-grabbing live as it is on disc, and Mirei hits the drumkit with passionate force. Yuri’s guitar work also stands out, and the interactions between her and Shuri are fun to watch. There’s a certain energy that the whole band casts, particularly on the more uptempo songs like the punk-ish “Underneath,” the driving anime OP “Wrong World,” and the proggy yet bouncy “Answer to Extreme.”
Then, of course, there’s vocalist Rina. Considering her unique and masterful vocal delivery, it could be make or break live, but she nails her lines. As the frontwoman, you can see she’s working on her crowd interactions and effectively banters with them between tracks, and there’s something compelling about her passionate delivery, with “I’m Nobody” acting as a standout in that regard, as it also does for Natsu’s graceful keyboard playing. “Nameless Name” allows her a few moments to belt out lyrics with no instrumental backing, and it’s chilling in the best way. To level one small gripe, some of the more technical guitar melodies on “Ideal Paradox” are clearly being played through the backing tracks, which was a bit disappointing. But given the backstory on the group, it’s impressive that it’s the only noticeable time it happens, and other cuts, like the frenetic “Underneath” and “Answer to Extreme” are done in pristine condition. So hopefully over time, those backing tracks for that song will be fully executed live. As for the quality of the video itself, there’s frequent cuts to the members and the crowd but it’s never jarring and keeps the energy as high as the music that’s playing on the screen. The sound is crisp, and let’s you hear all of the members, which is a keen quality as their recordings mirror that same ideal.
For international fans who are unable to catch Togenashi Togeari live, Prelude to Twilight provides a stellar watch. It’s further proof that this group has somehow captured something truly special, not even in just the anime space, but rock as a whole. The lighting, the sound, and the production of this makes for a perfect watch for fans, or to show to someone else to get them into the growing act. TogeToge deserves a wider audience than just the anime-adjacent spectrum, and hopefully they continue to grab a bigger international foothold. They are going to be performing in the US for the first time at Anime Expo this summer after all.
Setlist:
1. Na mo naki nani mo kamo (Nameless Name)
2. Itsuwari no ri (No Rhyme Nor Reason)
3. Kizutsuki kizutsuke itakutetsurai (Hurtful and Painful)
4. Risō-teki paradox to wa (Ideal Paradox)
5. Reimei wo ugatsu (Piercing the Dawn of Time)
6. Sayonara sayonara sayonara (Underneath)
7. Kiutsu, hakudakusu (White Drizzle in Gloom)
8. Gokushiteki gokusaishoku answer (Answer to Extreme)
9. Unmei ni kaketai ronri (Lonely Fate to Be Destined)
10. Zattō, bokura no machi (Wrong World)
11. Hazete saku (Bleeding Hearts)
12. Dare ni mo narenai watashi dakara (I’m Nobody)＜Encore＞
13. Na mo naki nani mo kamo (Nameless Name reprise)＜Encore＞
