ARCH ENEMY – Blood Dynasty

RELEASE YEAR: 2025

BAND URL: https://www.archenemy.net/en/

Whenever you consider the band’s name, Arch Enemy (AE) (pronounced “arkenemy” like in “archangel”?), you’re bound to have questions. Who is that arch enemy? Is he or she real, symbolic or both, or, perhaps, the Amott brothers purposely keep it ambiguous so that everyone interprets it how they please? If so, then I propose my own interpretation just based on Arch Enemy’s lyrics: three ways I interpret their name and I actually think they are a triple entendre and I will address each throughout this (my first for a 2025 release) review. The word “archangel” in Greek is archangelos (ἀρχάγγελος), a word built from the Greek prefix “archi” (chief; highest; first) and the word “angelos” (“messenger” transliterated “angel” to English) so “archangel” means “chief angel” or “ruling angel”. Thus arch enemy could mean chief, highest, first or ruling enemy.

Does Arch Enemy rule? There are some who think that Arch Enemy has their best years behind them and I’m here to tell them, while respectful of their opinion, why they are wrong.
It’s funny how, while discussing the Swedish melodic death metallers’, this here, 12th album, Blood Dynasty²⁰²⁵, just released on March 28th via Century Media Records, with chief editor, I flatly stated that I hadn’t really liked anything since War Eternal²⁰¹⁴ but I’d take it on a “why not” basis. It’s funny, again, because, while preparing the review, I checked out (on Bandcamp) both Will To Power²⁰¹⁷ (which I found excellent) and Deceivers²⁰²² (which I deemed fantastic) so someone remind me why I hadn’t liked it before? In fact, the case can be made that not only does the third incarnation of Arch Enemy fare well but is actually better than ever from War Eternal onward. This is clearly a band that doesn’t rest on its laurels but, while mindful of its past, continues to evolve through smart experimentation, striking a balance between the old and the modern and Blood Dynasty, while slightly inferior to Deceivers and about equal to Will To Power, is another testimony to that growth and this is, doubtless, because of enduring talent, skills and perseverance of the band’s founder, the man who could rightly be called the father of melodic death metal in the same sense as Chuck Schuldiner the father of death metal, Dave Mustaine the father of thrash metal, etc, etc.

Arch Enemy’s de facto father, Spiritual Beggars former Carnage and former Carcass guitarist, Michael Amott, is another one of these self-taught guitar geniuses who formed his first metal band, Disaccord (1983-1988), at the age of 14, and, immediately after Disaccord he, along with vocalist Johan Patrik Mattias Liiva (at the time known as Axelsson), inspired the Swedish death metal sound as Carnage (1988-1990) while sharing some members with Dismember, then Amott joined Carcass (1990-1993), just in time to create their two heretofore unmatched landmark death metal albums, Necroticism: Descanting The Insalubrious¹⁹⁹¹ and Heartwork¹⁹⁹³ (arguably the very first melodic death metal album), and, while in Carcass, formed Spiritual Beggars (which remains to date), and then simply left Carcass when they wanted to depart from death metal altogether. Arch Enemy, which he then formed with his younger brother Christopher (guitars-2005, 2007-2012), his old ex-Carnage pal, Liiva as well as Daniel John Erlandsson (drums-1996, 1998-present), (of whom only he and Erlandsson remain to date but of which Michael has been the only constant member), initially, was planned as a one album project, but Black Earth¹⁹⁹⁶ (on the now defunct Wrong Again Records), especially the album’s first single, “Bury Me An Angel” received unexpected airplay on Japan’s MTV Rocks! program, and, in 1997, Arch Enemy was signed by major Japanese label Toy’s Factory, and invited to tour Japan which resulted in the second album, the very good Stigmata¹⁹⁹⁸, also the first album for Century Media Records to be released worldwide, my introduction to the band’s music and my personal consolation prize after defanged Carcass. Arch Enemy’s third opus, Burning Bridges¹⁹⁹⁹, by many (myself included) regarded as their best work, was also released on both Toy’s Factory (Japan) and Century Media (everywhere else) further solidifying their position on the melodic death market, but, by then Jon Liiva had to go, reportedly, unable to pull it off live.

At that point the Amott brothers could have folded or find another vocalist and move on and, thankfully, they took the second door by taking a chance on an amateur German vocalist Angela Nathalie Gossow (2000-2014) whose vocal delivery was very similar to Death’s Chuck Schuldiner, almost another instrument. Hiring Gossow turned out to be a fantastic decision for both the band and for Michael personally, the two eventually becoming romantically involved for many years. Meanwhile, the fantastic Wages Of Sin²⁰⁰¹ (my second favorite), released by Toy’s Factory a year earlier (apparently changed to Trooper Entertainment in 2007 for Japanese releases) then worldwide by Century Media (as if the latter doubted?) became a massive success and is today by many regarded as their magnum opus. Followed by Anthems Of Rebellion²⁰⁰³, (released this time without significant delays), which gained success largely on the strength of the fantastic “We Will Rise”, despite some progressive tendencies, and then Doomsday Machine²⁰⁰⁵ (Christopher briefly leaving for college) and then (Christopher having returned) especially, the excellent Rise Of The Tyrant²⁰⁰⁷ (prophetic of the U.S. 2025?) all further confirmed Gossow was a great replacement for Liiva (although the fans continue to have their preferences). Interestingly, the older Amott joined the re-united Carcass and toured with them extensively in Europe, North America, South America, Australia, South Africa and Japan until the summer of 2010. For my money, Khaos Legions²⁰¹¹ was (and still is) perfect but it turned out to be Gossow’s swansong, and not only for hers since, at that point, Arch Enemy was permanently deserted (2012) by one of its founders, Christopher Amott, who will have, however, join his brother in formation of Black Earth, a band named after Arch Enemy’s debut album, which will have reunited the lineup from Burning Bridges and perform songs from Arch Enemy’s first three Johan Liiva-fronted albums while later incorporating one of their own songs “Burn On The Flame” into the setlists. As for Angela, leaving on friendly terms of her own volition though amidst speculations that she should, she suggested, in her own words, a more capable replacement. Because, both, Arch Enemy’s second and third vocalist are outspoken atheists and opposers of religion (the former possibly because she was raised by Orthodox Protestant Christians?), it is fitting that we address here the first possible meaning behind the band’s name before we talk about the latest vocalist at length.

In the primary sense, I am almost certain the name is supposed to be an appellative for The Almighty God’s both first and chief Enemy (Matthew 13:28), the Nameless One called The Adversary The Slanderer, almost transliterated as Satan The Devil in mainstream Christianity and made known , as such, to the world at large, thus causing the meaning to be lost and thus the figure to be rendered a myth. The word “satan” means “adversary” in all the biblical languages: Hebrew, Aramaic, and Greek, although sometimes it is used just as “an adversary,” and sometimes, especially with the article, it is used as an appellative, for the Devil. Contrary to popular belief, He is both, an enemy of God and man but he is definitely the chief enemy of God. However, he is clearly powerful so he is an arch enemy, that is, ruling enemy, which fits very well with both the Bible (which the band quotes frequently throughout their career) and life: the Devil rules the Earth in such a way that it is in chief opposition to God, who absolutely does not run it, which is the exact opposite of what mainstream Christianity and many Satanists, such as Nergal from Behemoth, teach. Here, of course, I am aware that, from the Devil’s and his human and spiritual servants’ perspective it is God who is his Arch Enemy, which is brilliantly portrayed in the Christian writer’s C.S. Lewis’ “Screwtape Letters”, a work I recommend to anyone. Look at this Earth: do you feel cared for and protected, safe and secure? Whose fault is that? His who rules the Earth. Interestingly, both Angela Gossow and her replacement write lyrics conscious of that truth.

The third Arch Enemy vocalist, The Agonist French Canadian singer Alissa White-Gluz, proved to be, indeed, a more capable vocalist. Having her joined Arch Enemy after a quick rehearsal in 2014 resulted in the very good War Eternal (different reviewer)…and then I ceased to care for one reason or another, most likely, because I was preoccupied with other releases, but now I know both Will To Power and, especially Deceivers were great, and now also Blood Dynasty is another proof that Alyssa is the best vocalist Arch Enemy has ever had. Meanwhile, as I stated before, people will endlessly debate, whether Alyssa is better than Angela is better than Johan, which is a good seque into the second possible meaning of the band’s name.

The second meaning is the people who oppose us in our lives, specifically, funny how life always seems to periodically identify that one nemesis in our lives that wants to best us and ruin us and, how often that person happens to be in some position of power that allows them to do so, although it may also refer to governments often being enemies of common people (such as is the case in the U.S. right now which is quickly becoming a fascist police state under the new administration barely in its third month of rule, who, interestingly, started illegally deporting predominantly Christian immigrants) all, to some extent, subjects the band addressed on their albums.

As for Alyssa’s skills and abilities, Blood Dynasty is a great album to emphasize it and, knowing her character and humility if only from her lyrics (A Million Suns), she’d likely be first to admit that it is no small thanks to her bandmates as she is, indeed, joined by some of the best names in the current lineup. Next to the elder Amott, we have the founding drummer, Daniel Erlandsson who had left the lineup only for two years 1996-1998 and then never departed again, then Charles Petter “Sharlee D’Angelo” Andreason (bass) who had joined in 1998 and stayed to date and, finally, a worthy guitar partner to Amott, former The Absence guitarist, Joey Concepcion (guitars) who just (2023) replaced ex-Arsis axeman , Nick Cordle. Is it any wonder that Blood Dynasty, promoted by whopping five videos, sounds as good as it does?

True, they are careful, at first, the very cinematic (that intro!) symphonic “Dream Stealer”, the Doomsday Machine styled “Illuminate The Path” and Rise Of The Tyrant evocative “March Of The Miscreants” sounding like gradual, skilful and effective foreplay before they hit you with your first sensual pleasure, “Don’t Look Down”, a thrashy, brutal number with a chorus that transforms into early Sadistic melodiscism horror and reaches Emperoric proportions at its conclusion (and is that Death’s Human¹⁹⁹¹ soloing I hear?), but your first orgasm proper (that is, once you’re done with the brief acoustic “Presage” instrumentalude) is the perfect title track with the magnificent chorus melody that wouldn’t be out of place on Hypocrisy’s A Taste Of Extreme Divinity²⁰⁰⁹, my easy favorite, however, you may well feel that sweet ripple effect still through the fantastic “Paper Tiger”, a traditional heavy metal piece with Alyssa screaming like its the 80s and infectious excellent melodies recalling 90s Megadeth from Youthanasia¹⁹⁹⁴ or Cryptic Writings¹⁹⁹⁷, and then you’re treated to the phenomenal cover of Blasphème’s “Vivre Libre” (Live Free), which is both, faithful to the original and much better with Alyssa’s mind-blowing performance. The only low point of the album the somewhat underdeveloped, enjoyable but comparatively pedestrian power metallish “The Pendulum”, serves rather as gateways to the second favorite on the record, the perfect closer “Liars & Thieves” (Republicans and Democrats?). An epic entrance and…the spirit of Lemmy Kilmister is strong with that one, Arch Enemy almost sounding like they cover Motorhead but it also reminds me of Megadeth’s “FFF” assuring me that the Cryptic Writings reference was not just a one song deal, and then Blood Dynasty ends on the same bombastic epic fashion, and, speaking of ending things, let us address the final possible meaning of the name.

The third, and most relevant to Arch Enemy’s lyrics, regardless of faith or lack thereof, is evil in man, my ruling enemy within that wants to destroy me, of which even an outspoken atheist and opposer of religion, Alyssa, is aware of (Paper Tiger) the lesser I, if you will, that sabotages all my plans and endeavors be they material or spiritual, whereby she rightly proclaims that “we are each our own devil and we make this world our hell”, a “man-made destiny on a joyride (sic!) to hell” (Blood Dynasty) and that “you have danced with the devil but you took each step alone”, and, most importantly, that “nothing burns like a memory, the kind you want to forget but the hooks are in too deep and your body won’t let you repent”. This war within reigns in all people raised with high moral fiber, whether they are religious or not, but the fight is the hottest in true committed Christians (Romans 7) since we actually oppose our fleshly desires daily even those that may seem harmless to nonbelievers but we see as detrimental to not merely our faith (what does that even mean?) but, to quote President Abraham Lincoln, to better angels of our nature, which is why we’re careful what we choose to feed our eyes, ears and minds as we are aware, like Alyssa, that this inner destroyer is not our friend an emissary of the Devil clearly with the same modus operandi – destruction of virtue, however one understands virtue, even on the pure humanity’s survival as species level. So, from the above threefold description you can see how very multifaceted the name Arch Enemy can be and how, more importantly, one can find it reflected in the band’s lyrics throughout their catalogue and even on this album at hand, as indicated.

Is there anything on Blood Dynasty as technically and musically equal to “The Immortal”, “Dead Inside”, “Pilgrim” “Silverwing”, “Demonic Science”, “Heart Off Darkness”, “Ravenous” or “Savage Messiah”? Nay, verily. These are the songs that should be preserved in the Library of Riksdag (Swedish Parliament) and cannot be challenged much less conquered. But I don’t think Michael Amott is even interested in that, besides, hence Black Earth project if he were. What he is interested in, judging by the fairly consistent output since that landmark release and remarkably consistent production since Alyssa joined, is in steadily yet carefully growing Arch Enemy. I mean that a 30 year old band still sounds good is a common thing but that it still sounds hungry (which, say, Metallica or even Megadeth no longer does) is definitely something to write home about. Moreover, every album since, again, Alyssa had joined, has been different while (and this is also to the band’s credit) retaining its basic signature sound.

And, on that note, complaining about Arch Enemy undoubtedly sounding very Gothenburg melodeath on their 12th album is like bemoaning Megadeth’s “44 Minutes” sounding like Pantera’s “Domination” or Slayer’s “Expendable Youth” like Metallica’s “The Eye Of The Beholder”, or even Arch Enemy’s “Savage Messiah” main riff a faster Metallica covering Killing Joke’s “The Wait” (check it out) – must we really play the old the chicken or the egg game here, especially, since, in AE’s case, their first 3 albums, plus Rise Of The Tyrant have been recorded and mastered in…(oh snap!) Studio Fredman, Gothenburg, Sweden?! Do you think that little fact is enough to give them the right to sound Gothenburg or is the fact that Michael Amott is the very father of the Gothenburg melodeath enough of the persuasive factor? So he could have stuck 100% to the sound and make copies of copies of Burning Bridges for the past 25 years updated for production, and, no doubt, get slammed for being archaic but, instead, never forgetting where he comes from, he continues to update the sound and still gets the bad rap, likely from the same critics. I continue to think that some people either secretly hate heavy metal and want it to die a sudden death (which is why they keep criticizing classic bands for both sounding retro as well as sounding modern instead of just enjoying the music for what it is), or they don’t bother to listen to an album more than once which is not enough to determine the production values (1st spin), musicianship and performance (2nd spin), creativity while making review notes (3rd spin) and, finally, songwriting (4th spin). Nothing in the heavy metal community annoys me more then the constant “trvism” of the frozen chosen critics many of whom have never held a guitar in their hands but know oh so well how every band is supposed to sound on their next album. That’s why I rarely say something to that effect unless I hear that the band sounds uninispired and, interestingly, very often, a said band admits it many years after the fact. However, I give huge credits to bands who push themselves in slightly different directions and that happens to be something AE has started doing since 2014. And, on a parting conclusive note, let me assure you, as Marcellus Wallace was pretty far from ok after Ziggy & the Funky Bunch’s treatment in “Pulp Fiction” so is Arch Enemy far from sounding uninspired on Blood Dynasty.