It is hard to believe that it has been 26 years since the melodic death overlords, Arch Enemy, burst onto the scene with the truly legendary ‘Black Earth’ and from that day on they have simply gone from strength to strength. Their existence has not been without turbulence though, most notably the infamous change in the lung power in camp, but this seems to have only made them grow and make them more titanium like in stature. Many would have thought that the departure of the much loved Angela Gossow would have had a negative impact on the Arch Enemy juggernaut but this only seemed to propel them further forward and the material with Alissa front and centre is some of their strongest yet, and with this latest spawn, ‘Deceivers’, they haven’t took their foot off the gas one bit, if anything its their most complex and powerful release to date.
‘Handshake With Hell’ kicks things off with a beautiful guitar solo before the rest of the band crashes in with power and precision. The structure of the track is decadent and commanding with beautiful guitar leads and absolutely behemothic drum and bass backbones. The vocals from White-Gluz are both colossal and exquisite in equal measures, the growling is masterful and the melodies that are generated from the Canadian larynx are flawless and delicate. There really are not enough superlatives to truly express just how beautiful Alissa’s voice is on this opening track and sets the stall out for what is yet to come.
‘Deceiver, Deceiver’ carves you open with a marching drum beat and six string chord beast before the signature power growl joins the fray. Alissa is back to her measured raw and powerful snarls and barks; each lyric being spat out with true supremacy and muscle. ‘Deceivers, Deceivers’ is harsher than the opening track and has less beauty injected into it but this is just an invitation to let your neck muscles free and generate a whiplash inducing event which will have many a crowd headbanging in unison, be warned, you will be punching the air to the hypnotic melody that is bred from within the confines of this heavyweight titan.
‘In The Eye Of The Storm’ is grandeur but with flair and style, the intro is massive and sees it build into a colossal ostentatious track. The vocals are another superb example of the range Alissa can demand from her lungs and she mixes melody and harmony with guttural growling with perfect ease as if it is a common everyday occurrence. The track has a soul of passion and intensity which keeps you hooked right up until the rather abrupt ending which then allows you to reset, recalibrate and set your stance ready for the next offering on this release.
Guitars invite you to the battle with absolute elegance and grace before the riot starts once more. ‘The Watcher’ has a future anthemic undercurrent, the melody is absolutely off the scale, backed up by the muscle and strength which commands you to step over the frontline and charge, all guns blazing into combat. This track has it all, insanely impressive guitar solos, well built and frenetic drum scores, chunky and solid bass lines as well as truly mesmerising and imposing vocal exhibits, all coming together perfectly to generate a compelling and masterful result.
‘Poisoned Arrow’ is brief in comparison to its fellow counterparts and opens with a delightful guitar doodle, I really cannot explain how majestic and beautiful the strings are, refined and graceful before the other components join to create another regal effort. The growls are still there, sitting on top of complex and layered musical emotions, but this time the growls are more harmonious and not as savage as have laid before them. Clocking in under the four-minute mark, it is a relatively short sharp shock but is sophisticated and graceful in its make-up, another where you are absorbed and engrossed in its decadence and maturity before it calls time and allows you a brief breather just in time for the next onslaught.
‘Sunset Over The Empire’ sees more of a raw deliverance to the vocals and the track is a frenzied all-out brawl. There are segments of grandeur and delicacy but on the whole it is a violent and ferocious attack, each commander of the individual bodies seems to have a brutal take on their chosen field, and each conductor of each individual component seems to be out to prove that they can generate the most intense and passionate wing of the track. That being said, each facet works beautifully with the next so as to craft a perfect and brutal example of the precision and delight Arch Enemy can bestow upon you. This has to be one of the many personal highlights on the album for me and I’m positive that I won’t be standing alone in that verdict.
‘House Of Mirrors’ yet again exhibits the magnificent string work that the Arch Enemy fretboards are capable of before Alissa joins the party with yet more imposing and magisterial vocal work. The tempo on this one is slowed down just ever so slightly which seems to allow the band to be more focused and relaxed, each section, whether it is the drums, bass or six strings, seems to stand alone a little more than we have become accustomed to. There is an air of dignity to the track and yes, we get guitar solos thrown in mid track which, it goes without saying, are intricate and riveting before the track sets off once more. This track really does end too abruptly for my liking, it only really seems to be getting into full swing before it is instructed to call it a day by a rather sudden smashing of glass and then it’s done.
‘Spreading Black Wings’ has some compelling guitar work before the track builds with the skins joining the gathering. There are chants in the background which adds to the sophistication of the track and it is yet again a little slower than its siblings although this has no negative connotations at all, purely an observation on my part, I will say however that the slightly slower pace does allow for the track to be slightly more structured with each member seeming to be able to really deliver there responsibility with passion and power. Alissa is able to show her true worth, showcasing the varied ranges of her repertoire and the true guttural growl which we have become accustomed to from her arsenal.
We are well and truly on the home stretch with ‘Mourning Star’ and this one begins a little more sedentary and sparser. An instrumental, and one of sheer pure beauty. The atmosphere that is conjured up for the minute and a half is spellbinding, hypnotic, captivating and entrancing all in equal measures. As much as it’s brief in stature, it really does envelope you and transport you to shores far and distant in a shroud of luxury and tranquillity.
Penultimate track, ‘One Last Time’, comes out of the blocks like a maniacal beast on the hunt for its next meal, stalking its prey with intensity and concentration. Spoken word is utilised within the depth of the track, poised with precision and at pertinent moments in the track to add as much meaning as possible. Less savage than previous tracks, its beauty is at the forefront yet backed with brawn and control in order to create a multi-dimensional track. Watch out for the melody and harmony on this one, its set to ravage you from ear to ear with all its might, another definite stand out moment on the album for sure.
The album then signs off with yet another resounding success of a track, ‘Exiled From Earth’ Is enigmatic and deep in its deliverance. The vocals are almost comforting yet savage in their appearance, The melody on which they sit is structured and constrained and the solos are intricate, disciplined and relevant at all points in which they make an appearance. The inhibitions seem to have flown the nest and the construction of the track is solid and reliable, a well and truly categorical victory for the final track on what is a masterpiece of an album from these demigods of melodic death metal.
This album is monumental, colossal, a resounding success and an album which shows true maturity and growth in a band’s existence. Amott et al have truly surpassed themselves with ‘Deceivers’, and whilst the set list staples, the massive anthems, that we hold so dearly to our hearts such as ‘Enemy Within’, ‘We Will Rise’, ‘Dead Eyes See No Future’, ‘No Gods No Masters’ and the behemoth that is ‘Ravenous’ will still undoubtedly stand firm in the live arena, it is clearly evident that from now on they will certainly have some new team mates to join them along for the ride.
(10/10 Phil Pountney)
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