{"id":20188,"date":"2014-06-24T00:00:01","date_gmt":"2014-06-24T00:00:01","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=20188"},"modified":"2014-07-16T05:13:07","modified_gmt":"2014-07-16T05:13:07","slug":"feature-allegaeon-06-14-pt2","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/feature-allegaeon-06-14-pt2\/","title":{"rendered":"ALLEGAEON – The Golden Ratio, Part Two (June 2014) | Features \/ Interviews @ Metal Forces Magazine"},"content":{"rendered":"
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Allegaeon (l-r): Greg Burgess, Michael Stancel, Ezra Haynes, Corey Archuleta
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Seven-string as well as eight-string guitars are a music trait listeners associate with Allegaeon. \u201cOn our EP and our first record, we were just a seven-string band,\u201d the performer highlights. \u201cThis is what we did when I joined, and so that was just what we were doing. I don\u2019t think this band ever played six-strings, ever. We were a seven-string band. The band was set up to kind of be an Arch Enemy-like band; that was kind of the main influence when I joined, and that\u2019s what they wanted to do, kind of an Arch Enemy-type thing. It\u2019s morphed over the years, but after we did Fragments Of Form And Function<\/em>, the idea was to maybe try to write some stuff on eight-string. It gives us a whole other string, so our keys are different. We can do some more interesting things, but then when we did Formshifter, I couldn\u2019t afford an eight-string (laughs). <\/p>\n

\u201cI borrowed one, and I hated it. I didn\u2019t write one eight-string song on Formshifter; I completely hated the idea of it, and I hated the sound of it. Ryan wrote three songs on eight-string, and when we recorded them that way, it didn\u2019t sound that bad. On the demos it sounded horrible, but when we actually got in the studio and did it with good recording equipment, it sounded great. That kind of won me over a little bit on the whole eight-string thing, and then we just started kind of being that eight-string band who uses all eight strings \u2013 not as an Animals As Leaders type of thing, but just as a whole band \u2013 it was cool, because it became a little niche for us so to speak. It just became our gig. I\u2019ll be honest; I don\u2019t really like playing eight strings.<\/p>\n

\u201cI think that there\u2019s almost this trend now \u2013 especially in America \u2013 where the lower you tune, the heavier it is, and I don\u2019t agree with that. I think heaviness is kind of in the notes you choose, and not really what you\u2019re tuned in. The whole tuning thing, that was originally facilitated for singers for what was comfortable for their range. That\u2019s the whole reason it started. When everything started getting lower and lower, it\u2019s gotten to the point where it\u2019s ridiculous. The reason I don\u2019t like it is because if we were just sitting up here playing a different style of music, you can use it appropriately where it\u2019s more rhythmic than melodic shall we say. They can use it to greater effect than we can, but for us, it becomes muddy because we\u2019re playing a whole bunch of notes. <\/p>\n

\u201cIt\u2019s really based on what kind of style you\u2019re doing; I think it works for others better than it would work for us, so to speak. I mean, we made it work (laughs). We\u2019re doing it, so obviously we\u2019ve had some success with it, but there is that fear that live it\u2019s just gonna turn into mud, and there\u2019s not gonna be a lot of clarity of frequency with us. That\u2019s the real reason I hate it. It\u2019s just fear of not having our music come across as clearly as we picture it, or as it is on the record, if that makes sense. It\u2019s become kind of identifiable with us a little bit though, so we\u2019ll just keep doing it.\u201d<\/p>\n

Elements Of The Infinite<\/em>\u2019s press release describes the outing as \u2018Allegaeon\u2019s most realized and mature release to date.\u2019 \u201cThat might just be the result of not having as many chefs in the kitchen, as it were,\u201d Greg figures. \u201cWhen you have one guy writing material, I think it\u2019s easier to have a comprehensive vision of how you want the album to go. When we wrote this, I already knew the track order before we even went into the studio, like \u2018This song opens, this song goes here, this song goes here.\u2019 I had it all demoed out from start to finish; all the orchestral stuff I had done, and all the drums were programmed. Every single instrument besides the vocals were demoed \u2013 it was meticulous. <\/p>\n

\u201cI really spent a lot of time making it meticulous, so we knew pretty much exactly how the album was gonna sound \u2013 how it was gonna flow \u2013 and that we had never done before. I had done five songs, and Ryan had done five songs. We\u2019d meet and then we\u2019d kind of figure it out afterwards, but now Mike and I just work really good together. Now it\u2019s easy for us to just meet up, and make these decisions way before we ever go to record them.\u201d<\/p>\n

A stronger musical partnership seemingly exists between the axeman and Michael than what previously existed between the axeman and Ryan. \u201cIt\u2019s just a different way,\u201d he muses. \u201cRyan and I were more business partners than anything else, I would say. We both had a vested interest in propelling the group. His priorities shifted over the years, whereas Mike is so happy to be here that it\u2019s really just what\u2019s best for us as a group and not what\u2019s best for us as individuals.\u201d<\/p>\n

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Orchestrations for Elements Of The Infinite<\/em> were composed by Greg in collaboration with Joe Ferris. \u201cHow Joe and I got to know each other?,\u201d he queries. \u201cI\u2019m in a couple of other bands, but with this other band that I\u2019m in called Cryogen, their old drummer (Chris Ghigliotty) was a member of the Colorado symphony. Prior to my joining, they had lots of strings and stuff on their album. He had a bit of a drug problem, so he got replaced. I then joined after that, and we got to doing our new record. We did a Kickstarter program to try to fund the record. One of the perks was if we got more capital from fans, then we could hire an orchestra or a string quartet to do some of the arrangements that I had written, and that our old drummer had written for the record. Joe saw that, and hit us up. I think he was just looking for metal bands to work us, because he\u2019s a metalhead but he\u2019s a classical composer \u2013 he really wanted to do kind of like Dimmu Borgir-type stuff. We listened to his stuff, and we were blown away. We were like \u2018Oh my God. This guy is awesome.\u2019 Right then, I was like \u2018Dude, I\u2019m gonna get you for the next Allegaeon record.\u2019 <\/p>\n

\u201cHe was super-stoked. He thought it was gonna be for a future record, even though it was right around the corner. We finished Continuum<\/em> (November 2013) \u2013 that record \u2013 and then started handing him tracks for the Allegaeon record. He did a killer job out of the park. Sometimes he would take my ideas and just flesh them out with better sounds, because my MIDI choirs and my MIDI strings are not the greatest. He would just kind of flesh them out, and orchestrate them a little bit more professionally than I would. Some other times then, I was like \u2018Hey man, go for it. Here\u2019s the music; write something to accompany this.\u2019 There were a lot of other things where I was just like \u2018Hey, just re-amp this\u2019 \u2013 some string patch that I wanted in the background, or some choir stuff. He would just run through his programs and put different voices on it, and then it would work great.\u201d<\/p>\n

Symphonic traits have always been audible with Allegaeon\u2019s material. \u201cWe have kind of our style, and that\u2019s been identifiable with every record that we\u2019ve ever done,\u201d the composer observes. \u201cThere\u2019s always been… I\u2019m a huge fan of Devin Townsend\u2019s work, especially in the Devin Townsend Band era when he did Accelerated Evolution<\/em> (March 2003) and Synchestra<\/em> (January 2006). If you listen to a lot of the production on those, he had keyboards backing up the guitars and the instruments, and so that\u2019s something that I\u2019ve always been trying to capture \u2013 his wall of sound-type thing. We\u2019ve done that on every record that we\u2019ve ever done. <\/p>\n

\u201cThis record, it\u2019s just a little bit higher in the mix, so it\u2019s really just the next step. It\u2019s just getting bumped up, and making them a little bit more independent. Our new drummer plays to a click, so we can actually program him in. We never did it before because we could never pull it off live, but now we can pull it off live, so it was kind of like \u2018Let\u2019s try it.\u2019 Who knows? On the next record it might be way more symphonic, now that we know we can do it. Probably not though, just because the guitars are crazy enough. I can\u2019t imagine making them even more crazy with an orchestra behind them, but you never know.\u201d<\/p>\n

Nowadays, lyrical duties are the responsibility of Greg and vocalist Ezra Haynes. \u201cThe lyrics are very much kind of a group pot, I would say,\u201d Greg views. \u201cEverybody throws ideas in. In the past, it\u2019s been Ryan, Ezra, and I writing the lyrics. It was a three-way split, and I was always happy to split. I was happy to let Ezra do it. Ryan liked writing lyrics; he wrote a good chunk of the lyrics for his songs as well. For me, I prefer it if Ezra writes them. I don\u2019t like doing it \u2013 I consider it a pain in the ass (laughs). I prefer it if he does it. Once again, when there was a change in management, I was like \u2018Ezra, just write them all.\u2019 At the same time though, we all have ideas. We are all interested in the same stuff; we love science. It was like \u2018Hey dude. What do you think about this?\u2019 I would do a whole bunch of research on the topic, and then I would just send him all of the information.<\/p>\n

\u201c\u2018Gravimetric Time Dilation\u2019, that was something that I had been wanting to do for years \u2013 about how mass affects time, gravity, and all that stuff. I just researched it, and gave him all of the source material that I had been researching, and then he wrote it. \u2018Biomech II\u2019 was the only one that I wrote with Ezra for this record, because we wrote the first one together. He was like \u2018Dude, let\u2019s do that again.\u2019 It was actually a lot of fun sitting in a room with him writing, because there were lots of energy going back and forth, like \u2018Hey man. What about this?\u2019 Yeah, ideas and concepts are very much a group concept, but when it comes down to writing it\u2019s more Ezra \u2013 unless he wants help, so to speak.\u201d<\/p>\n

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Allegaeon (l-r): Michael Stancel, Ezra Haynes, Corey Archuleta, Greg Burgess
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\u2018Biomech II\u2019\u2019s predecessor and fellow cut \u2013 \u2018Biomech \u2013 Vals No. 666\u2019 \u2013 was featured on debut record proper Fragments Of Form And Function<\/em>. \u201cThe first one was about a girl in Colorado who had an undeveloped retinal nerve, so she was partially blind,\u201d the axe-slinger tells. \u201cShe was a really nice girl named Lacey, and she just loved horses. It scared her though, because she would just see shapes move. You\u2019d have to tell her what it was. Basically in the US, with the last Bush administration, they were cracking down on stem cell research. They had actually cured this problem in China. Basically, based on the legislation passed by our government, she couldn\u2019t get the surgery she needed because it was illegal here. And adversely, there was pressure from right-wing religious organisations who thought that it was against God. We don\u2019t care what they believe, but to make someone suffer because of their beliefs was quite frankly outrageous, and it really angered me. I approached Ezra about this. <\/p>\n

\u201cWe talked to the girl, and so this was something that was really close to home. I really was angry about this whole situation, and so that was the whole chorus. \u2018In the name of god \/ For the love of god.\u2019 Our response to them was \u2018Goddamn you. You don\u2019t tell us what to do. This is better for our people. It\u2019s better for your families.\u2019 What\u2019s wrong with just being nice to people (laughs)? It turned out that our local hockey team raised enough money, though. She was able to go to China, and now she can see. When it came to doing the sequel, they\u2019re now taking stem cells and doing 3D printing, and they\u2019re coming up with replacement organs. It\u2019s becoming a big fad. I just saw an article the other day about the religious backlash starting from the printing of organs, and so that\u2019s what the second \u2018Biomech\u2019 is all about; the printing of organs, and the oncoming religious bullshit that\u2019s gonna try to sabotage it.\u201d<\/p>\n

On March 9th, 2009, President Barack Obama signed an executive order reversing federal opposition to embryonic stem cell research in the United States. \u201cIt\u2019s actually not a problem here any more,\u201d Greg agrees. \u201cI think that he overturned it, if I\u2019m right. We\u2019re not really political or religious (laughs), but these things just popped up.\u201d<\/p>\n

Science lyrically unites much of the tracks included on Elements Of The Infinite<\/em>. \u201cThe first song \u2013 \u2018Threshold Of Perception\u2019 \u2013 basically comes from a sociological and scientific viewpoint of a person passing,\u201d the guitarist divulges. \u201cIt\u2019s from the point of view where you\u2019re actually told that you\u2019re gonna die, to the chemical release in your brain, and to the acceptance of death. It\u2019s the whole span of just that, of death. It\u2019s basically just an analysis of death, as it were. The second track \u2013 \u2018Tyrants Of The Terrestrial Exodus\u2019 \u2013 is about the evacuation of Earth, and some of the corruption that would go along with it. There are too many people on Earth to evacuate all of us, right? There would be a lottery or whatever it would take, whether it be genetic selection so that the best and brightest of us can carry on the human race. Just the corruption that would go along with it; that\u2019s really what \u2018Tyrants\u2019 is about. <\/p>\n

\u201c\u2018Dyson Sphere\u2019 is about building a super-structure around the Sun for energy. \u2018The Phylogenesis Stretch\u2019 is about Goldilocks zones, the distance around a Sun where life can exist. \u20181.618\u2019 is about the golden ratio, and how it appears in nature and art and architecture, and just in everything really. \u2018Gravimetric Time Dilation\u2019, I talked about that one. \u2018Our Cosmic Casket\u2019 is about black holes, and a theoretical what would happen if a black hole approached Earth, and how we\u2019d all be doomed. That\u2019s our cosmic casket, because it affects everyone. \u2018Biomech II\u2019, we already talked about that. <\/p>\n

\u201c\u2018Through Ages Of Ice \u2013 Otzi\u2019s Curse\u2019 is an ice age tune. We have kind of like a natural disaster on every record; on Formshifter we had \u2018From The Stars Death Came\u2019, and that\u2019s the story of an asteroid hitting Earth. When that would then come, it would cause an ice age, so this is the next disaster in the story. \u2018The Cleansing\u2019 and \u2018The Renewal\u2019 from Fragments Of Form And Function<\/em> is a part of it, and \u2018Nex Of Terra\u2019 from our EP \u2013 all part of this one big story. We\u2019ll just really have one song at a time \u2013 or two songs, as was the case on Fragments<\/em> \u2013 that will eventually be one whole storyline, and that will play in order for like a DVD down the road. It\u2019s years in the making this whole thing, an idea that Ezra and I had a while ago. \u2018Genocide For Praise \u2013 Vals For The Vitruvian Man\u2019 is about the Ten Plagues of Egypt; it\u2019s just a sociological breakdown of the motives behind God, and why he would punish a whole bunch of people.\u201d<\/p>\n

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Elements Of The Infinite<\/em> was recorded, mixed and mastered by Dave Otero at Flatline Audio in Colorado between the months of February and April 2014. \u201cDave is a friend of ours,\u201d Greg enthuses. \u201cHe did our EP back in 2008, and then he did Fragments<\/em>. We were actually in talks with him to do Formshifter, but then Daniel Castleman \u2013 who did Formshifter \u2013 basically offered us a deal, when our management at the time also managed him. We just flew to California, and did that. After the Tim Lambesis thing went down, the last thing I wanted to do was go back to Lambesis Studios. We wanted to separate ourselves from that whole situation (laughs). Also, he did the Pyrithion thing, so since Ryan and us went our separate ways, we didn\u2019t wanna do that. If we did that, there wouldn\u2019t have been a lot of separation now, would there? It\u2019d just be going parallel. To come back home was kind of a natural thing for the band. I think it was right. <\/p>\n

\u201cIt\u2019s always nice working at home, instead of flying to another state. I get to sleep in a bed (laughs). I don\u2019t have to sleep on a floor, and I can have a shower every day. You don\u2019t necessarily have that when you\u2019re cross country, and you\u2019ve got to get shit done. Also, you feel less rushed when you\u2019re at home. You can eat and make food, whereas cross country you\u2019re eating out every day \u2013 it\u2019s just really expensive. We went back to Dave, though. Dave is very much a hands-on engineer \/ producer. In the past, we\u2019ve not wanted production in the sense that we\u2019ve not wanted other people\u2019s ideas coming into our music. Dave would always offer those, and so sometimes we would get into fights about parts and stuff that we didn\u2019t want. When I\u2019m only doing five songs, I pretty much slaved over the songs for a long time, and I\u2019m pretty dead set in my ways. <\/p>\n

\u201cThis time around, I very much wanted his input. I had done way more than I had done on previous records, so I felt my objectivity as far as the songs went was completely just obliterated (laughs). I didn\u2019t know if these songs sucked, or if they were good \u2013 I really needed outside help on them. Dave just came in, and he didn\u2019t even change that much. Everything that he suggested, I was like \u2018Yeah, let\u2019s try it.\u2019 It just made the songs better. Sometimes he\u2019d be like \u2018Hey man. Would you wanna try this?\u2019 I\u2019d be like \u2018Dude, I would love to try that. That\u2019d be awesome.\u2019 There was a lot of me seeking out his input too, which was a first. I\u2019d be like \u2018Hey man, what do you think about this? I have no clue. Is this good? Is this shit? I don\u2019t know.\u2019 I even write multiple solos for parts. I was like \u2018Hey man, I have two solos. You choose which one is better, because I have no clue any more.\u2019 When you write that much material, it\u2019s good to have an outside guy look in, because he was unbiased. Going back to Dave was awesome; I know that we\u2019ll be going back to Dave for a while in the future.\u201d<\/p>\n

Elements Of The Infinite<\/em>\u2019s album title is arguably epic in stature. \u201cFunnily enough, for me, I don\u2019t know if it\u2019s just because I over-think a lot of things, but I like complicated album titles \u2013 like Fragments Of Form And Function<\/em>,\u201d the musician discerns. \u201cThat was a total Greg, bonehead thought where I was like \u2018Yeah. I really like the way that flows, because it ties in to everything.\u2019 I don\u2019t know. Sometimes this is the way my brain works; sometimes it likes to overcomplicate crap that really doesn\u2019t need to be. When I was just writing demos for the album, I was like \u2018Elements Of The Infinite<\/em>. I really like the sound of that.\u2019 <\/p>\n

\u201cOn a broad spectrum, I think you can tie in all the themes that we have running throughout all of the songs. I really liked it, but it wasn\u2019t supposed to be the name of the record. It\u2019s just what I would label everything in my demos \u2013 they\u2019d all be under this thing, and so it just stuck. When it came down to naming the record, everybody was just like \u2018Yeah, I like it. I thought that that was what it was.\u2019 It was just kind of like a happy coincidence, or maybe my boneheadedness from day one (laughs). The name just stuck.\u201d<\/p>\n

As was the case with previous Allegaeon outings, Elements Of The Infinite<\/em>\u2019s cover artwork was designed by the London, England-based Colin Marks. \u201cWe love Colin, man,\u201d Greg praises. \u201cThat guy just does really good work. We loved his work \u2013 I think he did some Scar Symmetry covers. We just love that ultra-realist artwork that he does. It\u2019s actually funny, because usually we come up with a concept, present it to him, and then he\u2019ll do it. I was talking to him, because he did the Cryogen work that Joe Ferris was on. We came up with a concept, we gave it to him, and he came back. It\u2019s always way more than you expect \u2013 he always kills it. This time I talked to him, but in the meantime he had done the artwork that you see for this other band, and it\u2019s a lot of panels. If you buy the actual physical CD, you\u2019ll see that there\u2019s a lot of panels of art. <\/p>\n

\u201cBasically, he did all of these panels, but then the band flaked on him. He was like \u2018Dude, this is my favourite piece of artwork I\u2019ve ever done, but this band flaked.\u2019 Basically, he shipped it off to Metal Blade and said \u2018Hey, do any of your bands who have an album coming out want this?\u2019 Our rep just forwarded it to us, and it had nothing to with our album. We had a concept and everything, but when we saw it, it was just so awesome that we couldn\u2019t say \u2018No.\u2019 We then tried to incorporate some of the artwork into our songs, and that\u2019s where the whole idea for \u2018Genocide For Praise\u2019 with the locusts came from \u2013 from that artwork.\u201d<\/p>\n

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A music video was filmed for the track \u20181.618\u2019, the resultant video more light-hearted in tone. \u201cBefore that video, we\u2019d had no luck with music videos,\u201d the artist laments. \u201cIt was quite clear that we weren\u2019t doing something right, because the whole thing about doing music videos is that it\u2019s everybody\u2019s first source for checking out a band, that they go on YouTube. Our music videos just weren\u2019t taking off, though. The highest one we had was for the first \u2018Biomech\u2019; it was six years later, and it had just gotten 100,000 views. It\u2019s now at 200,000 I think because of \u20181.618\u2019, but it\u2019s just taken us so long to get a decent number that we just kind of felt like we suck at this, and that we needed to try a different approach. It was like \u2018Hey man, let\u2019s just be ourselves and not badasses.\u2019 We\u2019re not these big, evil death metal dudes at all \u2013 we\u2019re not. We\u2019re dorks. We\u2019re really not… Yeah, we\u2019re dorks \u2013 that\u2019s the best way to say it. <\/p>\n

\u201cWhen it came down to it, it was like \u2018Hey man, let\u2019s just be ourselves; let\u2019s just be jackasses in a video, and try something different.\u2019 We had done all of the videos in-house before; every video we had ever done, we edited. This time, it was like \u2018Hey man. Let\u2019s get someone else to do it, because obviously something\u2019s not working,\u2019 so we changed up a whole bunch of stuff. When it came down to filming \u20181.618\u2019, we had the idea of just doing a whole bunch of genres, putting them all in, and just realising how much we suck at all of the genres. You can\u2019t try to be someone else. You can just be yourself, and that was where it came from. It was a lot of just making fun of ourselves, and yeah (laughs). Taking the mickey out of ourselves seems to work, apparently (laughs). We were all so nervous about it, though. <\/p>\n

\u201cWhen we got to \u2018Our Cosmic Casket\u2019, it was way more serious. It\u2019s trying to be that badass thing that we\u2019re really not, so in the editing we\u2019re trying to make it a little bit more like \u20181.618\u2019 just to have some consistency, but it was really done out of fear that people were gonna hate \u20181.618\u2019. In hindsight, it didn\u2019t really matter because no-one was watching our videos anyway (laughs).\u201d<\/p>\n

Elements Of The Infinite<\/em> was released on June 20th, 2014 in Germany, Switzerland, and Austria, on the 23rd in the rest of Europe, and subsequently on the 24th in North America, all via Metal Blade Records.<\/p>\n

Interview published in June 2014. All 2014 promotional photographs by Matthew Knowles.<\/em><\/p>\n

1<\/a> | 2<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Allegaeon (l-r): Greg Burgess, Michael Stancel, Ezra Haynes, Corey Archuleta and Brandon Park Seven-string as well as eight-string guitars are a music trait listeners associate with Allegaeon. \u201cOn our EP and our first record, we were just a seven-string band,\u201d the performer highlights. \u201cThis is what we did when I joined, and so that was […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[279],"tags":[],"class_list":["post-20188","post","type-post","status-publish","format-standard","hentry","category-allegaeon"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/20188","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/comments?post=20188"}],"version-history":[{"count":24,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/20188\/revisions"}],"predecessor-version":[{"id":20243,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/20188\/revisions\/20243"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=20188"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=20188"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=20188"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}