Arch Enemy has been a band that I've enjoyed tremendously over the years, not so much for any special facet they bring to the metal table, but for the skilful songwriting they unleash upon the world with each release. The last album, Doomsday Machine (Century Media), was a rocker of a release - great tunes with killer riffs and soaring leads. It still gets regularly rotated on my CD player!
With Rise of The Tyrant, the Amott brothers once again do not disappoint. In my opinion, they have carried the band on to greener pastures, despite the once-mourned departure of charismatic frontman, Jonas. The shining songcraft is strongly evident again in this album - it is amazing how frequently the guitar duo manage to squeeze out such technically proficient yet melodically enchanting riffs. What is even more apparent is the growing maturity. Wailing leads laced over the tracks heighten the tension that bring each track to greater heights.
Hardcore death metal purists might bemoan the band's growing exploration into more melodic territory, especially with Tyrant. True enough, some of the tracks border on rock (or dare I say it, power metal) with only Angela Gossow's death growls the most identifiable relation to death metal. Despite this, there is still much brutality in the song delivery, with mindnumbing speed and aggression. Opening track "Blood On Our Hands" pulls out all the stops, with trademark pounding hooks and ripping solos, quickly followed by a thrash stomper "The Last Enemy". The headbanging continues unabated with each track, before the band slows it down a wee bit with "Revolution Begins", which has a clever little breakdown before swinging into a roaring climax. Title track "Rise of The Tyrant" starts with a wicked little sample (anyone knows where it came from?) before blowing into the closest thing to their previous rawer death metal work. Other highlights include the soon-to-be stomper anthem "Night Falls Fast" and last track "Vultures" which showcase some of the Amott brothers' best fretwork since Wages of Sin.
Already, the usual rants of fans bemoaning the band's gradual move towards a more balanced mix of melody and aggression have begun to surface. Yet, I am enjoying this refined release, and expect most fans to feel the same way. Undoubtedly, this will bring the band to an even wider audience, and with that, greater success which a hardworking outfit fully deserves.
Definitely one of the top metal releases of the year!
Read more at Double-Bass Crush!
With Rise of The Tyrant, the Amott brothers once again do not disappoint. In my opinion, they have carried the band on to greener pastures, despite the once-mourned departure of charismatic frontman, Jonas. The shining songcraft is strongly evident again in this album - it is amazing how frequently the guitar duo manage to squeeze out such technically proficient yet melodically enchanting riffs. What is even more apparent is the growing maturity. Wailing leads laced over the tracks heighten the tension that bring each track to greater heights.
Hardcore death metal purists might bemoan the band's growing exploration into more melodic territory, especially with Tyrant. True enough, some of the tracks border on rock (or dare I say it, power metal) with only Angela Gossow's death growls the most identifiable relation to death metal. Despite this, there is still much brutality in the song delivery, with mindnumbing speed and aggression. Opening track "Blood On Our Hands" pulls out all the stops, with trademark pounding hooks and ripping solos, quickly followed by a thrash stomper "The Last Enemy". The headbanging continues unabated with each track, before the band slows it down a wee bit with "Revolution Begins", which has a clever little breakdown before swinging into a roaring climax. Title track "Rise of The Tyrant" starts with a wicked little sample (anyone knows where it came from?) before blowing into the closest thing to their previous rawer death metal work. Other highlights include the soon-to-be stomper anthem "Night Falls Fast" and last track "Vultures" which showcase some of the Amott brothers' best fretwork since Wages of Sin.
Already, the usual rants of fans bemoaning the band's gradual move towards a more balanced mix of melody and aggression have begun to surface. Yet, I am enjoying this refined release, and expect most fans to feel the same way. Undoubtedly, this will bring the band to an even wider audience, and with that, greater success which a hardworking outfit fully deserves.
Definitely one of the top metal releases of the year!
Read more at Double-Bass Crush!
