There’s no denying the amazing impact and legacy Angela Gossow gave to the Metal world by rising to the challenge and seizing with angry clenched fists the opportunity to front Arch Enemy. She is and was a testament to women in Metal – a guiding light, an inspiration. She rode out the initial novelty factor accusations and in my opinion “Anthems Of Rebellion” was even better than her debut “Wages Of Sin”. That debut (at the time Arch Enemy’s fourth album) was an unbelievable Seven studio albums and 14 years ago! Let’s be honest here – the last two were a bit samey. I’m sorry, I’m not alone in that opinion and they certainly weren’t ‘crap’ by any means, just lacking…something. So obviously changes were needed. They came with the addition of new guitarist, ex-Arsis man Nick Cordle and the departure of Angela was phase two – In comes the equally talented Alissa White-Gluz to hopefully breathe new life into the beast. But has it worked…?
Yes…errr…No…well…errr…kind of…
A suitably dramatic intro gives way to ‘Never Forgive, Never Forget’ and it’s apparent that Arch Enemy are still filled with anger and ferocity. But then, they always have been – It’s what their fans expect. As an opener it pins you to the wall, has some stunning lead-work, as well as frantic drumming and vocals that seem to be as good as anything Angela ever laid down (uncannily similar in sound and style at times!). It isn’t particularly different from anything that’s gone before (which can be a good OR bad thing), but the immense musical talent Arch Enemy possess is totally undiminished. Next up, the title track, is the album’s ‘We Will Rise’. Similar in style and tempo, it’s a great track with an almost-catchy chorus and excellent riffs (though if Alissa can pull off the vocal style as facially effortlessly live as she does on the official video I’d be very surprised!). The impeccably executed, refined Metal onslaught continues at a pace, never straying far from their previously trodden path. The orchestration in ‘Time Is Black’ is a fine example of how the band could/can capture more light and shade and really makes the track stand out. ‘Avalanche’ uses it too in a more subtle way and again to great effect (though a whole album in this style would be a tad much). I do feel the second half of the album might be showing signs of Mike Amott wanting to push the boundaries a little more – the arrangements seem a little braver and a touch more experimental than the first half which is 100% tried and trusted Arch Enemy.
It’s possible that this is a transitional album – a “don’t piss off the current fans, show the new members can cut it and see where it leads” kind of thing. As Arch Enemy albums go, it’s definitely one of their better releases. There are guitar gems in most songs – always something that sets the band apart and makes them so utterly Arch Enemy and there certainly seems to be a renewed conviction to the playing. It’s also an interesting release, because they have a new guitarist/songwriter on board who will hopefully be encouraged to grow and flourish, plus a new vocalist that has done other, more versatile styles in her past, that could be called on and utilised in the future. It’s overall a safe and familiar Arch Enemy release, though they have recaptured a lot of their earlier fire, and hopefully it also hints at things to come.
(7.5/10 Andy Barker)
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