During a recent sit-down with Metal Hammer, Arch Enemy architect Michael Amott promised that the Sweden-based firebrands’ 12th album would be a transformative one. “Something we did do was throw out the rulebook,” the guitarist claimed. “Let’s be a little more free in the arrangements.”
It was an eyebrow-raising statement. Where genre pioneers such as In Flames and At The Gates defected or went on extended hiatuses over the years, Michael and co. have saluted the melodic death metal flag unceasingly for three decades. As a result – even through two singer changes, the latest of which saw Angela Gossow pass the mic to Canadian-born Alissa White-Gluz while retreating to a management role – they’ve amassed one of the most consistently blood-pumping catalogues in metal.
