Alissa White-Gluz

All posts tagged Alissa White-Gluz

By Carl Begai

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Take a look at the viewer comments left as (burnt) offerings for the three videos The Agonist posted in the weeks prior to the release of their new album, Five – “The Chain”, “The Moment” and “The Hunt” respectively – and you’ll find the band has a very loyal yet painfully divided fanbase. Understandable given the parting of ways with original singer Alissa White-Gluz (now with Arch Enemy) in 2014 and the addition of Vicky Psarakis in her place, but the haters aren’t merely complaining about the vocals this time out. No, it would seem that those who would try to do The Agonist harm with insults and assorted trolling when Eye Of Providence was released in 2015 are taking issue with the songwriting on Five, the riffs, the production, the mix, even the promo photos, as well as the vocals. Guitarist Danny Marino isn’t one to let the negativity that has surfaced get to him because he knows Five is a bold step forward for The Agonist, and the band still has a legion of open-minded supporters.

“It’s hard to judge positive and negative reactions based on comments made on a video,” he says, “but even if they’re mainly positive the negative comments speak louder because they jump out at you. I think it’s important for any band to look at it that way. For example, I remember when Opeth went through their musical shift a couple albums ago and decided to continue on that path. It wasn’t pleasant for them (laughs) but I think they’re more successful now than they’ve ever been in their career. It took some time for people to adjust to their new direction. It’s very subjective. All we can do is keep putting out music and seeing people show up to watch us play. That’s how we know we’re doing something good.” Continue Reading

By Carl Begai

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There was a time not so long ago when Delain was relegated to being a Dutch symphonic metal afterthought, regarded by the “experts” as a wannabe Within Temptation with a startling lack of balls and no identity. Unkind words indeed, which were eaten and subsequently choked on when the band unleashed The Human Contradiction in 2014. It didn’t merely open the door for Delain; it carved the band its own private entrance to the bigger leagues. So it goes that the follow-up, Moonbathers, was expected to fall just short of The Human Contradiction’s mark because, let’s face it, lightning doesn’t strike twice when a band is put under that kind of pressure.

Like bloody hell it doesn’t.

Having never bought into Delain’s keyboard-driven metal, The Human Contradiction was a wonderfully addictive surprise that flew in the face of my regular playlist (with the exception of Amaranthe). Perhaps it’s the freshness of the Moonbathers material, but the band has taken their songwriting and performances to a new level, particularly where vocalist Charlotte Wessels is concerned. The album grooves, bounces, croons and crushes its way through 11 tracks, displaying even more diversity than what The Human Contradiction brought to the table (which was considerable). “Hands Of Gold” featuring vocalist Alissa White-Gluz (Arch Enemy) – the only guest appearance on Moonbathers – is the perfect lead-in as a continuation to the previous record, with Wessels carrying the track through soaring melodies and gritty voice. First single “The Glory And The Scum” shows off a heavier, darker side to Delain that crops up time and again over Moonbathers’ course, contrasting sharply again the softer tracks like “Chrysalis – The Last Breath” and “The Hurricane”. The deeper you go the better the album gets, peaking with the three-point blast of “Fire With Fire” (fast and heavy), “Pendulum” (crushingly anthemic) and “Danse Macabre” (exceptional). It can’t be stressed enough that Wessels has come into her own as a singer, using her voice as a full-on instrument to bring a welcome new dimension to the Delain sound. The tribal chanting on “Danse Macabre” alone is a goosebump experience. As for the cover of Queen’s “Scandal”, the song is tailor made for Delain and guaranteed to become a live favourite. Continue Reading

By Carl Begai

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On January 22nd, Arch Enemy guitarist/founder Michael Amott announced the return of original singer Johan Liiva and guitarist Christopher Amott for a special one-off project dubbed Black Earth, which will perform Arch Enemy material from the band’s first three albums on tour in Japan this May. The internet turned out to be the largest broken telephone in existence; shortly after the announcement was made, rumours of Johan and Christopher returning to the Arch Enemy line-up full time and Black Earth doing a world tour began to surface. Michael contacted BraveWords directly for an exclusive interview in hopes of clearing up the confusion regarding Black Earth’s agenda.

“It’s a one-off tour in Japan and that’s all. It’s just supposed to be something super fun and not Michael Amott’s new band (laughs), and that’s where the confusion lies.”

Arch Enemy fans will remember the band performing at Japan’s annual Loud Park festival in October 2015, a special show that featured the return of Johan and Christopher to the stage to celebrate the 20th anniversary of the band’s debut album, Black Earth. That’s where current events began.

“We brought Chris and Johan over for Loud Park, and the promoters over there offered us a tour,” Michael reveals. “They suggested that we do something to celebrate the 20th Anniversary of the first album in Japan to a fuller extent. Arch Enemy is taking it slow this year, doing some writing and some shows here and there, so we thought it would be a good idea, but we obviously can’t call it Arch Enemy. We came up with using the name of the first album, Black Earth. They booked six shows in Japan so it’ll be quite extensive. I thought the buzz would be contained to Japan but of course the news got picked up and spread around thanks to social media and metal news sites. And when I was at NAMM last weekend in California everyone was asking me about Black Earth (laughs).” Continue Reading

By Carl Begai

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When French Canadian vocalist Alissa White-Gluz joined Swedish melodic death metallers Arch Enemy in 2014 at the request of her predecessor Angela Gossow, she was well aware of what awaited her: extensive touring, a rabid fanbase with high expectations, and an expected group of haters. So it went that, when Alissa broke her ribs in the middle of her first ever tour fronting Arch Enemy in support of her band debut, War Eternal, she chose to forge ahead despite the considerable pain. Most singers wouldn’t even entertain such a move due to the fact singing requires being able to breathe, which isn’t an easy task with a busted chest. Catching up on Arch Enemy’s European support tour with Nightwish in December 2015, Alissa revealed she hadn’t experienced any more major physical disasters since that first road trip, but admitted she was steering clear of the skateboard stashed on the tour bus just to be safe.

“There was so much pressure at that point and so much going on,” she says of that first tour with Arch Enemy. “For 10 or 12 years (with The Agonist) it was a struggle just to get booked anywhere, so when I was given this beautiful itinerary of a year or two full of shows… I’m not built to say no to that. I wasn’t about to say ‘Hey, since I’ve been working for 12 years and I’ve finally gotten this far, time to not do it.’ So I did the tour and it was against the doctor’s orders but fuck that, I’ve never followed doctor’s orders anyway (laughs). It definitely held me back a little in terms of performance for a few months, but it worked out.”

At the time of this interview Arch Enemy had been on the road for almost two years supporting War Eternal, an unheard of amount of time for a band that hasn’t quite graduated to headlining arena shows just yet. When they finished out 2014 supporting Kreator in Europe most people assumed the band would spend 2015 working on new material. Arch Enemy opted to remain on the road, closing 2015 with one of the biggest tours of their career in terms of audience numbers.

“There’s still a demand,” Alissa says of the band’s decision to spend so much time on tour. “Especially in this situation where we’re fortunate to have fans accept the new music and the new line-up. We want to give them a show if they want it. I think a lot of it has to do with the fact I can’t say ‘no.’ I feel so incredibly lucky that if anyone wants to see me perform I’m like ‘Really? You want us to play a show? I’m in…'(laughs). That and the fact these guys have been touring for 20 years; they just love doing it so they’re happy to play any shows that come our way. It’s a mixture of enjoying what we do and being workaholics. We’re still going but we’ll have to write some new music, which will be our focus in 2016.” Continue Reading

By Carl Begai

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Swedish bashers Arch Enemy – who now boast Canadian and American talent within their ranks – kicked off October with the surprising news that their upcoming show at the Loud Park festival in Japan will feature guest appearances by former members Chris Amott (guitars) and Johan Liiva (vocals). At press time there had been no official explanation given as to what had spurred the upcoming reunion(s), but a quick call to Liiva offered a bit of insight as to how he became involved.

“I was invited by Arch Enemy to do this along with Chris as it’s two jubilees,” he begins. “Ten years for Loud Park and soon 20 years for Arch Enemy, so it was no hesitation there for me.”

Chris Amott left Arch Enemy for the second time in his career back in 2012 (the first time being 2005), presumably never to work with the band again. Given that his guitarist brother Michael calls the shots in Arch Enemy, one can assume that family ties played a significant role in bringing Chris back to the fold, however temporarily. Liiva, on the other hand, left under seemingly unpleasant circumstances after three cult favourite albums and was replaced by Angela Gossow, which ultimately turned Arch Enemy into a metal household name. Gossow was officially replaced by Alissa White-Gluz in 2014.

“I left the band the band in 2000, and of course we weren’t too eager to talk to each other in the first few years after that,” Liiva offers. “The first years after I left the band, the relationship was quite infected. I know that Michael didn’t feel too good about the situation. He wanted to go in another direction. I’ve thought about it a lot over the last few years and I understand him now. It’s like a process and you have to think things through because Arch Enemy is his life and Michael knows what he wants. He made the band into what he wanted it to be, and for me it’s okay because the touring life was never my thing. I loved being in Arch Enemy but I much prefer the life I have now.” Continue Reading

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When Kamelot released Silverthorn in 2012 it was a make-or-break affair as they navigated the debris left behind following the ambitious yet ultimately stagnant Poetry For The Poisoned album and the departure of vocalist Roy Khan. A record loaded to the teeth with every weapon in the Kamelot arsenal, Silverthorn was perhaps too epic for its own good at times, but it succeeded in winning over the vast majority of fans left heartbroken and skeptical by Khan’s departure. Haven finds Kamelot trimming away a lot of the Silver-fat in favour of a sound more in line with The Fourth Legacy, Karma or The Black Halo, beefing up the guitar / bass / keys / drums while reducing the symphonics to a Use In Case Of A Damn Good Idea capacity. Vocalist Tommy Karevik is given far more space to shine on Haven compared to his Silverthorn debut, making for a much stronger album on that score alone.

All that said, fact is nobody is going to be mindblown by Haven the first time through (if you say you were, you’re a bullshit artist). It’s a gradual build with lead-off tracks ‘Fallen Star’ and ‘Insomnia’ – which don’t have the blow-the-doors of speed of previous album openers ‘Center Of The Universe’ and ‘Forever’ – groove-pounding the listener into the new Kamelot comfort zone (with no done-to-death orchestral track to kick things off… thank you). Interesting as well that the band waits four tracks to unleash Haven’s first stormer, ‘Veil Of Elysium’ – which sounds like the less evil twin to Silverthorn’s ‘Sacrimony’ – one of only two (!!) to be had on the entire album. And this is the addictive nature of Haven; for all the threads you can weave back to previous album, Kamelot keep you guessing as to what you’re going to get, and how and when it’s going to be served up. Unexpected and bloody impressive at this stage of the game. Continue Reading

By Carl Begai

Every time Kamelot and Arch Enemy vocalist Alissa White-Gluz are mentioned in the same sentence, the buzz that follows is usually enough to break the internet. With that in mind, consider this a bit of shameless promotion featuring an excerpt from a new Kamelot interview with guitarist Thomas Youngblood, due to be published on BraveWords just prior to the release of their new Haven album in early May.

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At this point in Kamelot’s career guest vocalists are an (admittedly) expected part of any production at their hands, whether it’s an album, festival show or full blown tour (headline or support). Their new album, Haven, satisfies those expectations with the return of vocalist Alissa White-Gluz (Arch Enemy), new voice on the block Charlotte Wessels (Delain), and multi-instrumentalist Troy Donockley, all of whom appear at select points during the latest Kam-epic’s run. They are a welcome element in the band’s musical tapestry that would be sorely missed by many if they weren’t involved.

“I never want to feel like we have to have female vocals on an album and who knows, maybe on the next record we won’t,” says Youngblood. “People forget that on The Fourth Legacy (1999) we had two songs with female vocals, so it wasn’t like we jumped on some bandwagon. We did that 15 years ago. The difference now is that we’re lucky enough to have some super-talented friends that also work perfectly within the Kamelot structure. Somebody like Alissa for example, who isn’t really known for melodic metal or power metal or whatever you want to call it, the way she works with us is so natural and organic it’s just amazing.” Continue Reading

By Carl Begai

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I first became aware of photographer Jeremy Saffer’s work through the promo campaign for Kamelot’s Silverthorn album in 2012. It was a single photo featuring vocalist Tommy Karevik flanked on either side by Kamelot’s live backing singers Alissa White-Gluz (Arch Enemy) and Elize Ryd (Amaranthe), which I found quite striking. An online search revealed Saffer to be someone who has established himself as a go-to photographer for people in the know, yet he remains below the radar to some degree. Saffer doesn’t have time to worry about whether people get or even know about his work, however, because he has several projects on the go at any given time. In fact, this interview was conducted as Saffer was gearing up for the release of his latest work(s) of art.

Taking on photography as a career is something that develops over time rather than waking up one day and saying “Eureka! I know what I’m gonna do with my life!” Saffer reveals that his love for music carved the path to becoming what amounts to a photographer to the gods…

“Like most metalheads I was a musician,” Saffer begins, “and on the side for fun I would take photos of bands; live shots only at the time. I had been shooting bands live for about three years when I started college at Berklee College Of Music… and I hated Berklee. It was an eye-opener for me that I didn’t want to play music for the rest of my life, which to me was shattering as it was my dream since I was little. So, in this struggle I was talking to a friend/mentor, as his advice is extremely important to me. I said ‘I’m at a loss, I don’t know what to do. I hate Berklee…’ He asked me what I liked to do, and without hesitation I said ‘Shoot bands, shoot shows.’ He looked at me as if I was the last one to get it. That look he gave me changed my entire mindset from ‘Okay, I photograph bands for fun, now I can do it for a career…’ So I went to a quick photo school and continued on my career, which has slowly gone from mostly live photos to mostly portraits.” Continue Reading

By Carl Begai

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Swedish vocalist Elize Ryd rose to fame as the female singer for Amaranthe, fronting the band alongside Jake E. (clean vocals) and Henrik Englund (cookie monster growls). As the band has grown so have the number of requests for Elize to lend her talents to productions by other artists. She’s no stranger to being a session player – it’s how she ended up with the Amaranthe gig – having guested for Falconer, Dragonland, Renegade Five, Timo Tolkki’s Avalon, with her stint as a guest vocalist on tour with Kamelot through 2011 and 2012 and her appearance on their Silverthorn record (2012) being particularly noteworthy. Amaranthe remains Elize’s top priority and she’s currently focusing all her attention on supporting their new album, Massive Addictive, but it’s a fair bet there will be more guest spots on down the line.

“I’m openly willing to do it because I love to sing,” Elize says of taking on productions outside Amaranthe. “I get a lot of requests to do guest appearances because many other artists who need a singer seem to think my voice would fit their songs. As long as I think the music is good and I feel that I can connect to what they’re doing, it’s very hard for me to say no (laughs). Sometimes I do it as a job, sometimes I do it to help a friend. I’ve had to say no to quite a few projects because the new Amaranthe album is coming out and I don’t want to take any of the attention away from it.”

At press time Kamelot was in pre-production for their next studio album. There’s no word yet as to whether Elize will be asked to contribute as she did on Silverthorn, but there are plenty of fans expecting her to make a reappearance. Continue Reading

By Carl Begai

Several years ago a theory was developed suggesting that non-Canadian metal and rock bands wanting to break big only had to add a Canuck to the mix somewhere down the line. There’s absolutely no scientific proof to give my theory any merit, of course, but acts like Bon Jovi, Skid Row, Metallica, Mötley Crüe and Dream Theater all enjoyed huge success as a result of Canadian influence (producer Bruce Fairbairn, vocalist Sebastian Bach, producer Bob Rock, and singer James Labrie respectively). This supposed trend has continued with Alissa White-Gluz, former vocalist for The Agonist, replacing Angela Gossow in Arch Enemy after 14 years in the trenches. An unexpected development to say the least, but perhaps even more unexpected is the impact the band’s new album, War Eternal, is having on their fanbase. Sure, there’s the expected disgruntled faction that worship the ground Gossow walks on – and rightly so – and others that find War Eternal too melodic, too clean and too easy on the ears. For the most part, however, both Alissa and War Eternal continue to garner postive feedback and huge support from an increasingly louder majority.

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BraveWords: Could you sense that Angela was going to call it quits, or did her announcement come out of the blue?

Michael: “We ended the Khaos Legions world tour in December 2012 with a South American leg, and the last show was in Mexico City. A few weeks after that we had a band meeting and decoded we were going to take 2013 almost completely off from band activity, definitely from shows. That opened the schedule up in a way we’ve never experienced in the last 12 years, because as you know it’s been pretty relentless doing the album-tour-album-tour cycle. It was pretty much a case of ending a tour on the Friday and going into pre-production on a new album on a Monday. That happened twice in 10 years, and it was very intense. People change, and Angela got to a point in her life where she wanted to make some changes. Not everybody is in this for life because it’s a very demanding lifestyle. It can be very tough on you if you’re not 100% into it.”

BraveWords: Angela is still part of the machine, but in the background as the band’s manager. It’s a post she’s actually held for several years…

Michael: “Angela took over the business management for Arch Enemy in 2008. She did a fantastic job with that and really turned things around for the band on many levels. She was getting a lot of satisfaction out of that, so I think that was getting stringer than the satisfaction she got out of performing. And she never liked travelling, so in the end I think it caught up with her. We could see the writing on the wall. We’re not completely insensitive assholes and we could see that she wasn’t 100% into it anymore. And when she finally told us last year that she was quitting, Angela urged us to carry on.” Continue Reading