Review Summary: Beware the subtle shifts.
Allegaeon are impressive. While walking the fine line between melodic death metal and technical death metal (akin to genre staples Anata & Arsis) the group have also obtained something all the more unobtainable: consistency. From 2010’s Fragments of Form and Function, up until 2014’s Elements of the Infinite, Allegaeon have maintained an easily discernible style, along with consistently well-written and well-recorded material.
This consistency, however, provides larger-scale distress. By their most recent release, Allegaeon had cycled through most of their parlor tricks a hundred fold, and while occasional switch ups alleviated the issue, one was left wondering what the band would bring forward next that wouldn’t further compound it.
Fortunately, Proponent for Sentience provides a solution; albeit a more subtle one. Their trademark Soilwork-meets-tweedly-doo formula remains intact, but it ingrains itself within a larger, more progressive package (just check their final track here, a straight Rush cover for the most overt indication). Orchestral arrangements, flamenco streaks, and clean sung passages all coalesce inside of a surprisingly coherent package, just slightly dipping down before the finale. It’s a sign that the band are aware of their most inherent flaws, while not abandoning what brought them definition in the process.
And on the process of definition.
Ezra Haynes, the low-register growl behind the band’s hulking behemoth, departed the band amicably in 2014, leaving many fans wondering where they sat sonically. Haynes hadn’t added a particularly cutting edge to the band, but his constant energy live and on record felt genuine; something not easily discernable but well-aligned within their proposed sound. Shortly afterward, we were exposed to the first single, and along with it, the announcement of new vocalist Riley McShane, of Sons of Aurelius fame.
This is a more mixed bag.
McShane has a more raspy quality to his delivery, and while it finds balance within a Sons of Aurelius track with it’s more balanced mixture of clean and harsh vocals, it feels less powerful and productive here; essentially imitating Haynes’s delivery but with lesser results. His inclusion of cleans does nothing to offset this either; feeling underproduced and uncomfortable within the already-defined Allegaeon sound. These are an interesting addition, and perhaps even necessary within a more wide-scale, far seeing gameplan, but unfortunately they simply don’t amount to anything. Yet.
Allegaeon are shifting. They’re subtle shifts, but they’re there, working within the confines of the package. With their already perfected grooves weaving in and out of more thought-provoking, expanded compositions, the band have begun the drive towards becoming something absolutely incredible. Other bands: beware the subtle shifts.
Recommended tracks:
Of Mind And Matrix
Gray Matter Mechanics - Appassionata Ex Machinae
