Technical death metal artisans ALLEGAEON are pleased to present their “Dark Matter Dynamics” performance video. The track, which features guitarist and multi-instrumentalist Adrian Bellue, comes off the band’s most recent full-length, The Ossuary Lens, out now on Metal Blade Records.
Comments guitarist Greg Burgess, “‘Dark Matter Dynamics’ is a very special song for me. Having the opportunity to explore my love for steel string acoustic music, and bringing it into the fold with ALLEGAEON, will forever be a source of pride. Not only that but exploring this marriage of two styles with an acoustic heavy weight Adrian Bellue was equally special.”
Adds vocalist Ezra Haynes, “‘Dark Matter Dynamics’ is here and I am pumped! Over recent years, we’ve grown close with our good buddy, Adrian Bellue, and I’m thankful Greg introduced us! He rips on the guitar and he’s an even better friend. We’re especially excited to play ‘Dark Matter Dynamics’ Saturday night at Flatline Fest in Denver with Adrian himself!
“The chorus gets me hyped! I think it’s the most jump-worthy ALLEGAEON riff ever written! This song has that classic, science-based ALLEGAEON vibe and theme, and it sonically showcases the album’s range, letting the track breathe with a soulful, atmospheric instrumental piece that contrasts perfectly with the heavy riffs surrounding it. Please enjoy ‘Dark Matter Dynamics.’“
Watch ALLEGAEON‘s “Dark Matter Dynamics” video, shot by Kyle Lamar:
Watch ALLEGAEON‘s previously released video for “Driftwood” HERE, “The Swarm” HERE, “Wake Circling Above” HERE, and “Imperial” HERE.
The video comes in advance of the band’s upcoming performance at this year’s Flatline Fest in Denver, Colorado this weekend alongside labelmates Cattle Decapitation, The Zenith Passage, and more!
ALLEGAEON Live: 6/15/2026 Flatline Fest – Denver, CO
The Ossuary Lens serves as ALLEGAEON‘s seventh full-length overall, but it’s the first to feature the return of original vocalist Ezra Haynes since his 2015 departure following the Elements Of The Infinite album. The record was recorded with producer Dave Otero at Flatline Audio studio in Denver. It marks the sixth album recorded with Otero. It’s of no surprise then that the sound on The Ossuary Lens pummels the listener, though the ferocity is balanced by the overt melodies. It’s the most triumphant and cohesive body of work that they’ve ever laid down.
“Haynes’ presence has an immediate effect, his more gravelly vocal adding further extremity to ALLEGAEON’s hyper-technical form of death metal,” wrote Consequence upon hearing lead single, “Driftwood.” Decibel Magazine called the record, “a fine listen if you want tech-death that doesn’t require a master’s degree in engineering to enjoy… They take a maximalist approach, their mix of rapid-fire riffs, symphonic keyboards, and zero-g drumming crushing songs like ‘Chaos Theory’ and the black metal-edged ‘Dies Irae’ between walls of sound.” Rock Hard Germany commended, “some of their most technically spectacular numbers. Audacious, successful…,” while Blabbermouth crowned it, “an astonishing piece of work.”
ABYSMAL DAWN will make their return to European stages this September, joining co-headliners Allegaeon and Gorod across 20 dates on the Tech It Easy! UK/European Tour. The run covers France, the United Kingdom, Germany, the Netherlands, Poland, the Czech Republic, Switzerland, and Italy, and marks the Los Angeles quartet’s most extensive European appearance since their 2022 support run with Atheist and Suicidal Angels.
Onstage, Abysmal Dawn are a band that earns its reputation the hard way—through sheer precision and relentless forward momentum. Founding member Charles Elliott anchors the band both as vocalist and guitarist, a combination that demands full commitment every night and consistently delivers it. Their sets draw from across two decades of material, moving between the melodic aggression of Phylogenesis, the muscular density of Obsolescence, and the driving brutality of earlier records, building a live experience that rewards long-time fans and converts new ones in equal measure.
The tour comes at a charged moment for the band. Abysmal Dawn entered the studio in autumn 2025 to begin recording their sixth full-length, following the October release of new single “Cradle of Affliction”—their first new music since the 2022 EP Nightmare Frontier. The forthcoming album remains their primary focus heading into the second half of 2026, and this European run will offer the first opportunity for many fans on this side of the Atlantic to hear where the band is headed. They are joined by Colorado’s Allegaeon, touring in support of their 2025 full-length The Ossuary Lens, and Bordeaux’s Gorod, one of France’s most accomplished technical death metal acts.
Tickets go on general sale Friday 3 April at 10am BST / 11am CEST.
TECH IT EASY! 2026 TOUR DATES:
4 September: Grenoble, FR @ L’Ampérage 5 September: Nantes, FR @ Le Ferrailleur 6 September: Paris, FR @ Petit Bain 8 September: Southampton, UK @ The 1865 9 September: Nottingham, UK @ Rescue Rooms 10 September: Manchester, UK @ Rebellion 11 September: Birmingham, UK @ O2 Academy3 12 September: Leeds, UK @ Boom 13 September: London, UK @ Underworld 15 September: Lille, FR @ Black Lab 16 September: Hannover, DE @ Lux 17 September: Nijmegen, NL @ Doornroosje 18 September: Haarlem, NL @ Patronaat 20 September: Warsaw, PL @ VooDoo 21 September: Krakow, PL @ Zaścianek 22 September: Prague, CZ @ Futurum 23 September: Munich, DE @ Backstage Club 24 September: Aarau, CH @ KIFF 25 September: Cologne, DE @ Euroblast Festival
American death metal masters Abysmal Dawn are back! After a six-year gap, the Los Angeles-based outfit and Season of Mist hereby present Phylogenesis. Not that Abysmal Dawn have laid low since the release of 2014’s lauded Obsolescence full-length. Far from it. They toured North America four times and hit Europe and South America for the first time. Meanwhile, founding member Charles Elliott opened his studio, Tastemaker Audio, to accelerate Abysmal Dawn’s own recording needs, as well to act as a bridge to other bands in need of a knowledgeable and relatable audio technician. But the road to Phylogenesis wasn’t an easy one. Besides work-horsing it throughout the U.S., Canada, Sweden, Germany, the UK, Brazil, Chile, and beyond in support of Obsolescence, Elliott and crew managed through some of the lowest points in Abysmal Dawn’s career. Internal strife, administrative burdens, musical differences, and motivation all had their various ways with the Californians. Yet, from the darkest depths, they prevailed, heralding a new chapter in the group’s storied history. Indeed, Phylogenesis is Abysmal Dawn’s rebirth!
“There was a brief period after doing two months of touring back-to-back in the U.S. and Europe in 2015 that I almost felt like calling it quits,” Abysmal Dawn’s Charles Elliott says. “It was our first time in Europe and I just had a hard time enjoying it. The band had grown, and I was a bit tired of having to handle most of the managerial aspects of what we do. The joy had been ripped from things and people weren’t getting along, and some people acted like they didn’t want to be there. But we went our separate ways with some of the members and all of a sudden, the band was fun again. They went on to other things and we’re probably all happier in the end. Sometimes, I feel it’s a miracle this album or band even still exists. I’ve avoided swearing on our records in the past, but the album’s opening line is actually, ‘Fuck you all!’ Maybe it’s primitive by our past lyrical standards but it’s genuine and it’s the most heartfelt, ‘Fuck you, we’re still here’ I could put on a record. I’m glad we stuck it out because I think this is our proudest moment so far.”
To say Phylogenesis is an extension or continuation of Obsolescence isn’t exactly as straightforward as it should be. On one hand, all the Abysmal Dawn trademarks—technicality, brutality, and melody—remain ingrained in the songwriting fabric. On the other, the band’s fifth full-length is more cohesive, rhythmically sophisticated, and far more adventurous. Elliott calls it “a major evolution.” Certainly, the six years of constant refinement, edge smoothing, and transition adjustments have paid off. What started as jam sessions between Elliott, bassist Eliseo Garcia, and drummer James Coppolino in 2016 eventually turned into one-offs. That there was no time limit to put Phylogenesis together ended up both a blessing and a curse. Total creative freedom at very little expense is a dream scenario, something a band of Abysmal Dawn’s stature took advantage of for their magnum opus. But without a ticking clock and dollars burning, the pressure to focus was far less severe, resulting in delays and feature creep.
“It was basically James, Eliseo and me meeting up at my place, jamming on ideas, seeing what worked and tweaking them from there,” says Elliott. “With the exception of ‘Hedonistic,’ James wrote all his drum parts. Obsolescence was demoed with me programming all the drums since our drummer at the time had moved up north. It was what it was, but it was pretty frustrating at the time. Having someone to bounce ideas off of in real-time, helped in maintaining the joy and momentum of making this album. Once it was time to record bass and leads, Eliseo and Vito [Petroni; guitars] would trickle in when they had ideas. We had no real deadline and seemingly infinite time to do things. Admittedly, I think it was hard for me to focus on the lyrics, not only because of things in my personal life but because I was focused on getting the guys in to complete their parts so I could focus.”
Finish Phylogenesis they did, in fact. Under significant duress, Abysmal Dawn had overcome their roadblocks. The results of the group’s undulating professional and personal schedules aren’t to be trifled with, however. Opening track “Mundane Existence” is a firestorm of labyrinthine yet savage riffs, enraged vocals, and machine-gun drumming. It’s death metal personified, enlightened, and perfected. Elsewhere, tracks such as “The Path of the Totalitarian,” “A Speck in the Fabric of Eternity,” and “Soul-Sick Nation” (feat. Fredrik Folkare of Unleashed, Firespawn, et al.) pose real threats to the status quo. In all three, Elliott’s passion for and dominance of death metal’s tenets are tangible. But there’s more to Abysmal Dawn on Phylogenesis than customary ritual. From the ruthless groove of “Hedonistic” and the staccato stabs of “Coerced Evolution” to the late album gem “The Lament Configuration” and the blistering cover of Death classic “Flattening of Emotion,” the songs are designed to slay in ways we’re just beginning to understand.
“We’re a pretty brutal death metal band, but what I feel like sets us apart is that no matter what we do there’s always some underlying sense of melody and hooks,” Elliott says. “There are lots of bands that are ridiculously brutal. There are lots of bands that are over-the-top technically or are blatantly melodic. We combine all that but we try to write something that sticks with you over time; that you’ll keep coming back to, and that works well in the live environment. We love all types of music, whether it’s fusion or industrial music, and it shines through here and there. But in the end, though, we’re a pure death metal band at heart trying to retain that old-school feel with an updated take for a new generation.”
Conceptually, Phylogenesis deals with the breakdown of social constructs humans have built over time. The album title is defined by the evolution of (or diversification) a species. So, Phylogenesis is an ironic take on Elliott’s observations, particularly how social media has accelerated and exacerbated the de-evolution of humanity’s interactive abilities. The cover art, again by Swedish artist Pär Olofsson, isn’t directly correlated to the lyrical narrative, but it does continue where Obsolescence left off. The Olofsson cover art has envisioned what it’s like on the inside of the Obsolescence tower, and that it’s humans that are being fed back to humans. The cover art continuity is akin to Richard Fleischer’s famed Soylent Green film but ripped through Elliott’s demented death metal lens.
“I think the lyrics deal a lot with things we encounter in our modern society and the effect it has on the individual,” says Elliott. “The dehumanization effect and divisiveness caused by bickering on social media (‘The Path of the Totalitarian’), the decay of legitimate journalism (‘True to the Blind’), struggling to find purpose in the pursuit of happiness (‘Hedonistic’), wishing something was greater than yourself (‘Mundane Existence’), the mental illness epidemic (‘Soul-Sick Nation’), embracing pain over numbness to feel alive (‘The Lament Configuration’), having our consciousnesses uploaded to a grid in order to make life sustainable on Earth (‘Coerced Evolution’), and the common theme throughout the band of wishing life on Earth would just start over (‘A Speck in the Fabric of Eternity’). I had started off wanting it to be a concept record but later scrapped that idea because I didn’t like how it was going. In the end though, it just naturally all tied together in some way. Even the Death cover seemed to fit lyrically in hindsight. ‘Coerced Evolution’ is really the only song that in the sci-fi vein this time around. As for Pär, yes, he did the cover art once again. We love working with him and we’ve been creating great covers with him since 2006.”
Abysmal Dawn recorded Phylogenesis over a multi-year timeframe. In fact, Coppolino’s drums were tracked as far back as 2017 with long-time collaborator John Haddad at Trench Studios. The rhythm guitars and vocals, as produced by Mike Bear and Elliott, were also done at Tastemaker Audio the same year. So, some of Phylogenesis goes back, but the parts are no less lethal. Slowly but surely, the group’s newest and greatest materialized, with Elliott finishing the lead guitars, bass, additional vocals, reamping, and mixing sessions in 2019, again at Tastemaker Audio. Abysmal Dawn then packaged up their fifth for mastering ace Tony Lindgren (Rotting Christ) to handle at Fascination Street Studios in Sweden. Contemporary yet absolutely remorseless, Abysmal Dawn’s Phylogenesis is death metal for a new age.
“We took our time and went to few studios this time around, so it’s a bit of a laundry list,” Elliott says. “John Haddad engineered the drums at Trench Studios. John has been involved with all our records in some form since From Ashes. Mike Bear helped track and produce the vast majority of my vocals and rhythm guitars out of my studio. Mike produced both Leveling the Plane of Existence (2010) and Obsolescence. I tracked and produced all the leads, bass parts, and other odds and ends and mixed the album as well. Tony Lindgren at Fascination Street Studios mastered the record in the end.”
As for Abysmal Dawn’s next steps, the quartet await the release of Phylogenesis. With past support coming from the Village Voice, Decibel, PopMatters, and Pandora, as well as the group’s rabidly-devoted fanbase, the future of death metal is in good hands.
Line-up: Charles Elliott — Guitar, Vocals Eliseo Garcia — Bass, Additional Vocals James Coppolino — Drums Vito Petroni — Guitars
Technical death metal architects ALLEGAEON to unveil their new video for “Wake Circling Above.” The track comes off the band’s latest full-length, The Ossuary Lens, out now on Metal Blade Records.
Comments guitarist Michael Stancel on the track, “So, one day in our group chat, [vocalist] Ezra [Haynes] was like, ‘Michael, I want something slow and heavy,’ and I was like, ‘DONE.’ I used a lot of inspiration from bands like Dimmu Birgir and Septicflesh to try and build these massive orchestral sections that set the tone as well as some noisy ‘ear candy’ sounds to add more dimension. This is probably the most different song on the record but still has all the ALLEGAEON-isms you’d want.”
Watch ALLEGAEON‘s previously released video for “Driftwood” HERE and “The Swarm” HERE.
ALLEGAEON is wrapping up the final week of their North American coheadlining tour with Warbringer. The Vortex Of Violence Tour began on March 18th in San Diego, California and will conclude on April 12th in Los Angeles, California. Support is being provided by Skeletal Remains and Summoning The Lich. See all remaining dates below.
ALLEGAEON w/ Warbringer, Skeletal Remains, Summoning The Lich [remaining dates]: 4/08/2025 El Corazon – Seattle, WA 4/09/2025 Rickshaw Theatre – Vancouver, BC 4/10/2025 Hawthorne Theater – Portland, OR 4/11/2025 DNA Lounge – San Francisco, CA 4/12/2025 Teragram Ballroom – Los Angeles, CA
The Ossuary Lens serves as ALLEGAEON‘s seventh full-length overall, but it’s the first to feature the return of original vocalist Ezra Haynes since his 2015 departure following the Elements Of The Infinite album. Replacing a singer is no easy task, so the fact that Haynes was in a place to rejoin is reason to celebrate. The cleaner vocal approach on the last three albums was a fascinating artistic maneuver, one that refreshed ALLEGAEON, but it’s undeniably thrilling to hear Haynes’ graveled larynx back in the fold on this inarguably brutal and technically dazzling slab of work.
The Ossuary Lens, while not a concept album in the traditional sense, is a representation of several different viewpoints of death. “Each song is a different topic, however there’s always a different perspective of death tied in,” says Haynes. “Since the entire album revolves around this overarching theme of death, and the different viewpoints associated with it, we found ourselves very attached to the word ‘Ossuary,’ and since the album takes a look at death through different points of view, we found The Ossuary Lens to be very fitting for the album title.”
The record was recorded with producer Dave Otero at Flatline Audio studio in Denver. It marks the sixth album recorded with Otero. It’s of no surprise then that the sound on The Ossuary Lens pummels the listener, though the ferocity is balanced by the overt melodies. It’s the most triumphant and cohesive body of work that they’ve ever laid down.
ALLEGAEON: Ezra Haynes – vocals Greg Burgess – lead guitar Michael Stancel – lead guitar Brandon Michael – bass Jeff Saltzman – drums
“The Swarm” is the latest video/single from technical death metal architects, ALLEGAEON. Now playing at Metal Injection, the track comes off the band’s forthcoming new full-length, The Ossuary Lens, set for release on April 4th via Metal Blade Records.
Notes guitarist Greg Burgess of today’s “The Swarm” single, “This is a piece written by [guitarist] Michael Stancel. The frantic intro riff was actually written on tour in the UK on a boat in Bristol. I remember filming him playing it so we wouldn’t forget how to play it. The show was sold out and ruled, and then all of our gear got rained on because they had us load out so they could have a disco after the show. Shame!“
Remembers Stancel, “If I could have set that venue adrift I would have, at least we got a song out of it.”
ALLEGAEON will join Warbringer on a North American co-headlining run next week. The Vortex Of Violence Tour will begin on March 18th in San Diego, California and will close on April 12th in Los Angeles, California. Support will be provided by Skeletal Remains and Summoning The Lich. Tickets are on sale now! See all confirmed dates below.
ALLEGAEON w/ Warbringer, Skeletal Remains, Summoning The Lich: 3/18/2025 Brick By Brick – San Diego, CA 3/19/2025 Last Exit Live – Phoenix, AZ 3/20/2025 Launchpad – Albuquerque, NM 3/21/2025 89th Street Collective – Oklahoma City, OK 3/22/2025 Haltom Theater – Haltom City, TX 3/23/2025 Come And Take It Live – Austin, TX 3/24/2025 House Of Rock – Corpus Christi, TX 3/26/2025 Conduit – Orlando, FL 3/27/2025 Hooligan’s – Jacksonville, NC 3/28/2025 Broken Goblet – Bensalem, PA 3/29/2025 Woodshop – Brooklyn, NY 3/30/2025 Foufounes Electriques – Montreal, QC 3/31/2025 The Garrison – Toronto, ON 4/01/2025 The Sanctuary – Detroit, MI 4/02/2025 Reggies – Chicago, IL 4/03/2025 The Bottleneck – Lawrence, KS 4/04/2025 Bourbon Theater – Lincoln, NE 4/05/2025 HQ – Denver, CO 4/06/2025 Metro Music Hall – Salt Lake City, UT 4/08/2025 El Corazon – Seattle, WA 4/09/2025 Rickshaw Theatre – Vancouver, BC 4/10/2025 Hawthorne Theater – Portland, OR 4/11/2025 DNA Lounge – San Francisco, CA 4/12/2025 Teragram Ballroom – Los Angeles, CA
The Ossuary Lens serves as ALLEGAEON‘s seventh full-length overall, but it’s the first to feature the return of original vocalist Ezra Haynes since his 2015 departure following the Elements Of The Infinite album. Replacing a singer is no easy task, so the fact that Haynes was in a place to rejoin is reason to celebrate. The cleaner vocal approach on the last three albums was a fascinating artistic maneuver, one that refreshed ALLEGAEON, but it’s undeniably thrilling to hear Haynes’ graveled larynx back in the fold on this inarguably brutal and technically dazzling slab of work. Wrote Consequence of the first single, “Driftwood,” “Haynes’ presence has an immediate effect, his more gravelly vocal adding further extremity to Allegaeon’s hyper-technical form of death metal. Maximal drums and winding guitar lines are woven into an prog-like arrangement that ducks into ambient passages, melodic sections, and grinding riff-laden brutality.”
The Ossuary Lens, while not a concept album in the traditional sense, is a representation of several different viewpoints of death. “Each song is a different topic, however there’s always a different perspective of death tied in,” says Haynes. “Since the entire album revolves around this overarching theme of death, and the different viewpoints associated with it, we found ourselves very attached to the word ‘Ossuary,’ and since the album takes a look at death through different points of view, we found The Ossuary Lens to be very fitting for the album title.”
The record was recorded with producer Dave Otero at Flatline Audio studio in Denver. It marks the sixth album recorded with Otero. It’s of no surprise then that the sound on The Ossuary Lens pummels the listener, though the ferocity is balanced by the overt melodies. It’s the most triumphant and cohesive body of work that they’ve ever laid down.
ALLEGAEON: Ezra Haynes – vocals Greg Burgess – lead guitar Michael Stancel – lead guitar Brandon Michael – bass Jeff Saltzman – drums
Technical death metal outfit ALLEGAEON will unleash their new full-length, The Ossuary Lens, on April 4th on Metal Blade Records, today unveiling the record’s first single, “Driftwood.”
For ALLEGAEON, sitting still is not an option. The Fort Collins, Colorado-based group has never allowed itself to stagnate, prefering to thrive on chaos, change and evolution. Their latest offering, The Ossuary Lens, is their seventh full-length overall but it’s the first with original vocalist Ezra Haynes since his 2015 departure following the Elements Of The Infinite album. Replacing a singer is no easy task, so the fact that Haynes was in a place to rejoin is something to celebrate.
The cleaner vocal approach on the last three albums was a fascinating artistic maneuver, one that refreshed ALLEGAEON, but it’s undeniably thrilling to hear Haynes’ graveled larynx back in the fold on this inarguably brutal and technically dazzling slab of work. The science-based lyrics are as challenging as the progressive musicianship, resulting in a set of songs that simply slay. It’s a sound that Haynes himself refers to as “melotech” (melodic, technical death metal).
“I think in the beginning we were a little more stripped down,” adds guitarist Greg Burgess, “very guitar-forward, focused melodeath. Over time, I think more technical, symphonic, and progressive elements creeped in. Finally, where we are today is all of that combined, added with more ambient elements.”
The Ossuary Lens was recorded with producer Dave Otero at Flatline Audio studio in Denver. It marks the sixth album recorded with Otero. “He’s our guy and we couldn’t imagine working with anyone else at the moment,” says Haynes. “We have worked with Dave Otero at Flatline Audio since the beginning of our career,” adds Burgess. “So seventeen years now. Dave always provides a comfortable working environment, amazing ideas, and a career-spanning understanding of what has made ALLEGAEON, ALLEGAEON.“
The proof is in the pudding; the sound on The Ossuary Lens pummels the listener, though the ferocity is balanced by the overt melodies. It’s the most triumphant and cohesive body of work that they’ve ever laid down.
Lyrically, while not a concept album in the traditional sense, there’s an overarching theme to the new album – The Ossuary Lens is a representation of several different viewpoints of death. “Each song essentially is a different topic, however there is always a different perspective of death tied to each subject,” says Haynes. “Since the entire album revolves around this overarching theme of death, and the different viewpoints associated with it, we found ourselves very attached to the word ‘Ossuary,’ and since the album takes look at death through different points of view, we found The Ossuary Lens to be very fitting for the album title.”
Of the album’s first single, “Driftwood,” Burgess elaborates, “This song holds a special place in ALLEGAEON history, honestly. This piece was written for Apoptosis by our then-brand new bassist Booboo. In its original form, it was so tech death, I don’t think we knew how to incorporate it into the ALLEGAEON sound when he submitted it. Fast forward six years and, as we were kicking around ideas for this album, I remembered the piece, and asked Booboo if he wouldn’t mind if I took a crack at possibly rearranging its format a little smoother into the ALLEGAEON sound. I just wanted there to be a little bit more repetition of some parts. The song turned out amazing. Always goes to show – never throw out anything as you never know when it’ll come back.”
The Ossuary Lens Track Listing: 01. Refraction 02. Chaos Theory 03. Driftwood 04. Dies Irae 05. The Swarm 06. Carried by Delusion 07. Dark Matter Dynamics (feat. Adrian Bellue) 08. Imperial 09. Wake Circling Above 10. Scythe
ALLEGAEON will join Warbringer on a North American co-headlining run this next month. The Vortex Of Violence Tour will commence on March 18th in San Diego, California and close on April 12th in Los Angeles, California. Support will be provided by Skeletal Remains and Summoning The Lich.
Tickets are on sale now! See all confirmed dates below.
ALLEGAEON w/ Warbringer, Skeletal Remains, Summoning The Lich: 3/18/2025 Brick By Brick – San Diego, CA 3/19/2025 Last Exit Live – Phoenix, AZ 3/20/2025 Launchpad – Albuquerque, NM 3/21/2025 89th Street Collective – Oklahoma City, OK 3/22/2025 Haltom Theater – Haltom City, TX 3/23/2025 Come And Take it Live – Austin, TX 3/24/2025 House Of Rock – Corpus Christi, TX 3/26/2025 Conduit – Orlando, FL 3/27/2025 Hooligan’s – Jacksonville, NC 3/28/2025 Broken Goblet – Bensalem, PA 3/29/2025 Woodshop – Brooklyn, NY 3/30/2025 Foufounes Electriques – Montreal, QC 3/31/2025 The Garrison – Toronto, ON 4/01/2025 The Sanctuary – Detroit, MI 4/02/2025 Reggies – Chicago, IL 4/03/2025 The Bottleneck – Lawrence, KS 4/04/2025 Bourbon Theater – Lincoln, NE 4/05/2025 HQ – Denver, CO 4/06/2025 Metro Music Hall – Salt Lake City, UT 4/08/2025 El Corazon – Seattle, WA 4/09/2025 Rickshaw Theatre – Vancouver, BC 4/10/2025 Hawthorne Theater – Portland, OR 4/11/2025 DNA Lounge – San Francisco, CA 4/12/2025 Teragram Ballroom – Los Angeles, CA
ALLEGAEON: Ezra Haynes – vocals Greg Burgess – lead guitar Michael Stancel – lead guitar Brandon Michael – bass Jeff Saltzman – drums
Colorado melodic tech metal outfit ALLEGAEON will join Warbringer on a North American co-headlining run this Spring. The Vortex Of Violence Tour will commence on March 18th in San Diego, California and close on April 12th in Los Angeles, California. Support will be provided by Skeletal Remains and Summoning The Lich.
Comments the band, “We are thrilled to join forces with thrash titans Warbringer to bring you the Vortex Of Violence Tour! With Warbringer and ALLEGAEON leading the charge, and the amazing Skeletal Remains and Summoning The Lich kicking off the evening, this lineup promises a night to remember. So, get ready – stretch, drink plenty of liquids, and dust off your riot gear. We’ll see you in the pit.”
Tickets are on sale now! See all confirmed dates below.
ALLEGAEON w/ Warbringer, Skeletal Remains, Summoning The Lich: 3/18/2025 Brick By Brick – San Diego, CA 3/19/2025 Last Exit Live – Phoenix, AZ 3/20/2025 Launchpad – Albuquerque, NM 3/21/2025 89th Street Collective – Oklahoma City, OK 3/22/2025 Haltom Theater – Haltom City, TX 3/23/2025 Come And Take it Live – Austin, TX 3/24/2025 House Of Rock – Corpus Christi, TX 3/26/2025 Conduit – Orlando, FL 3/27/2025 Hooligan’s – Jacksonville, NC 3/28/2025 Broken Goblet – Bensalem, PA 3/29/2025 Woodshop – Brooklyn, NY 3/30/2025 Foufounes Electriques – Montreal, QC 3/31/2025 The Garrison – Toronto, ON 4/01/2025 The Sanctuary – Detroit, MI 4/02/2025 Reggies – Chicago, IL 4/03/2025 The Bottleneck – Lawrence, KS 4/04/2025 Bourbon Theater – Lincoln, NE 4/05/2025 HQ – Denver, CO 4/06/2025 Metro Music Hall – Salt Lake City, UT 4/08/2025 El Corazon – Seattle, WA 4/09/2025 Rickshaw Theatre – Vancouver, BC 4/10/2025 Hawthorne Theater – Portland, OR 4/11/2025 DNA Lounge – San Francisco, CA 4/12/2025 Teragram Ballroom – Los Angeles, CA
ALLEGAEON will release their seventh full-length album, helmed by longtime producer Dave Otero (Flatline Audio), later this year. Stay tuned for further details to be unveiled in the coming weeks.
In the meantime, watch ALLEGAEON‘s previously released video for stand-alone single “Iridescent” at THIS LOCATION.
ALLEGAEON: Greg Burgess – lead guitar Michael Stancel – lead guitar Jeff Saltzman – drums Ezra Haynes – vocals Brandon Michael – bass
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
Metal Shock Finland (World Assault ) 