Swedish not-so-pop metal sextet Amaranthe have released their sixth album, Manifest, and it’s safe to say this is the record the fans wanted and the band needed to make. Their previous album from 2018, Helix, kept the Amaranthe name alive and in the public eye through extensive touring, but it definitely wasn’t delivered with the enthusiasm that, at its core, makes Manifest the band’s strongest record since their second outing, The Nexus. Even before the album was recorded, Amaranthe kicked off the year with two non-album singles – a cover of Sabaton’s “82nd All The Way, and “Do Or Die” – and haven’t stopped to take a breath since. In between recording sessions, social media updates and appearances, and an international press junket – as much as could be accomplished during a global pandemic – the band managed to shoot four big budget videos and unleashed them between June and October to highlight the release of Manifest. And the singles chosen weren’t exactly predictable, particularly in case of over-the-top track “Archangel”. To say Amaranthe have recaptured the fire that made them stand out amongst the rabble at the beginning of their career almost 10 years ago is an understatement.
Prior to the release of Manifest, BraveWords spoke with guitarist Olof Mörck, vocalist Elize Ryd, and former Arch Enemy singer Angela Gossow, who is now Amaranthe’s manager.
BraveWords: You had a rocky start to the making of Manifest, as in COVID-19 almost stopped the production in its tracks.
Olof: “We were supposed to leave for the studio in Denmark (Hansen Studios in Ribe) on a Sunday, and we were setting up on the Friday before to write some music when our drummer Morten (Løwe Sørensen) told us we had to get across the border before 12:00 PM the next day. So we had to take the train at 6:00 AM to get across the border on time, and we were taking a lot of stuff with us for staying two-and-a-half months not knowing if they would even let us in. That was more adventure than we wanted (laughs).”
Nostalgia: “A wistful desire to return in thought or in fact to a former time in one’s life; a sentimental yearning for the happiness of a former place or time.”
If you go by the textbook definition above, The Night Flight Orchestra can be considered a nostalgia-based band. The term has been used quite often over the course of their eight year career to describe the now seven-piece group, but this shouldn’t be seen as derogatory. On the contrary, it should be seen as a positive that a present day rock band is able to fire up their time machine to deliver shadows and flavours of the past with all original material. Aeromantic is The Night Flight Orchestra’s fifth album, and it pays homage to acts from the ’70s and ’80s – Journey, ABBA, Toto, KISS, Christopher Cross, Asia…. it’s a seemingly never-ending list – while deftly avoiding the retro trend that made bands like Greta Van Fleet the talk of the town for 10 seconds. Not an easy task, but then it’s not like The NFO were trying to do anything more than create more solid material they can be proud of. If people choose to join their particular conga line, so much the better, especially because it gives the metalheads on board a chance to learn about where Soilwork frontman Björn “Speed” Strid, Arch Enemy bassist Sharlee D’Angelo, and Soilwork guitarist Dave Andersson come from musically.
“It’s going to be hard to top the previous two albums in terms of reviews,” Strid says of Aeromantic. “Last time out it was really amazing and it’s the same thing this time around, if not better. People are blown away by the new album, and I’d say that most of the press we’re doing is with metal magazines. It’s really remarkable how open-minded people are in the scene. I’ve heard people say this is a guilty pleasure, but what is there to feel guilty about? People are raving about it. Somehow it works and we have a personable sound in the end. It’s not just a nostalgia act; we’re filling a void in the music scene. The other day somebody asked me if I could name another new band out there that is doing the same sort of thing as The Night Flight Orchestra, and I couldn’t come up with anything. We’re moving this forward with this combination of sound and imagery; it’s very nostalgic in a sense but also very refreshing. I think we’re providing something that’s missing out there.”
Many people in our line of sonic debauchery refer to Motörhead as a metal band even though legendary frontman Lemmy always insisted they played rock n’ roll. Not surprisingly, nobody ever dared to argue the point with Mr. Kilmister (that we know of). Thus, if you’re looking for a metal band cut from the Motörhead cloth it’s best to cast an ear in Witchery’s direction. Born from the ashes of Satanic Slaughter 20 years ago, the Swedish quintet originally consisting of members from The Haunted, Arch Enemy and Seance gained a faithful cult following from the get-go with their 1998 debut, Restless And Dead. During a BW&BK interview in 1999 for the band’s Witchburner EP, guitarist Patrik Jensen (The Haunted) put forth Witchery’s plan of adopting a ’70s-era KISS approach and releasing at least an album a year, and with Symphony For The Devil hitting the shelves in 2001 it seemed they might succeed. Unfortunately, real life and other band commitents managed to scuttle those plans, leaving Witchery to assemble only as time permitted, yielding only three albums in 10 years. In fact, their new record, In His Infernal Majesty’s Service, comes a whopping six years after their last outing, Witchkrieg.
“You know what they say; as you grow older time moves faster, ” says Jensen. “It doesn’t seem like it’s been six years but then I look at the calendar and it’s ‘Oh my God, we’re celebrating 20 years of Witchery, we need to make an album…’ (laughs).”
“But that’s the problem we’ve had since 2003 because that’s around about when Angela (Gossow) joined Arch Enemy and things started to go really well for them,” he continues, referring to bassist Sharlee D’Angelo’s top priority and the resulting space between Witchery albums. “The Haunted took off around that time, and I think that’s when Martin (Axenrot / drums) joined Opeth. We were really active between 1997 to 2003 and then things got difficult for us because there were so many conflicting schedules. It’s crazy. We discovered that it was just as hard to get this album out as any other year we’ve done an album because it’s hard to get everyone together. That’s why Martin decided to gracefully bow out; he didn’t want to make it a problem for Witchery to continue releasing albums. The way he put it, ‘It’s not like I don’t have a band I’m going to tour the world with…’ (laughs). We love the guy and we’re still friends, so there’s no animosity. Something had to change and he offered his place up; we found Chris (Barkensjö) to play drums and he’s not as busy as Martin so it’s easier to get rehearsals going. On top of that, Martin was a very sophisticated and tasteful player even before he joined Opeth, whereas I’m more of a Ramones / early Motörhead kind of player. Chris is the same way; he sounds like our first drummer, so having him in the band brought back that old Witchery feeling we had on Restless And Dead. Not only could we get back to rehearsing, we kind of got our old sound back.” Continue reading BraveWords Interview: WITCHERY – Sonic Healing For The 6Sick6
In early 2011, Seattle’s conquering sons Nevermore unexpectedly slammed the brakes on their career after almost 20 years in the trenches. The quartet – Warrel Dane (vocals), Jeff Loomis (guitars), Jim Sheppard (bass) and Van Williams (drums) – cited creative and personal differences as the cause for the parting of ways, shocking their loyal fanbase. Dane went on to re-launch Sanctuary in 2014 and Loomis was tagged to join Arch Enemy, replacing Nick Cordle. The former was expected, the latter was a complete surprise, but most Nevermore fans seem to have made peace with the changes even though there seemingly has never been a concrete explanation as to what brought about Nevermore’s (supposed) demise. Given the opportunity to sit down with Loomis during a stop on Arch Enemy’s late summer European tour, I asked him to shed some light on the matter.
“Nevermore was together for 18 years, and it was one of those things where everybody in the band at that time – five years ago now – was drinking heavily” Loomis reveals. “We all had a problem; it’s not fair to put the blame on one person for any of that. We wanted some changes in the band, we wanted everyone to quit drinking, but we were all too stubborn. Then the ultimatum came that if we didn’t quit drinking we’re not going to tour anymore, and that’s basically what ended the whole thing. I also think that after being together for so long and going through so many ups and downs, nobody could take it anymore. All I can say is that I’m very proud of what we did in Nevermore, we still have a huge following to this day, but as with anything in life there are other chapters and the page had to be turned to something else.”
“For me personally it was a big breather to be able to live a normal life for a while,” he adds. “I still talk to Van and Warrel, I don’t really speak to Jim too much anymore, and I hear he’s out of the business now. Everybody is doing something musically, it’s just not Nevermore. Warrel’s got Sanctuary, of course, and he’s doing a Nevermore touring cover band kinda thing. Van has Ghost Ship Octavius, which is really cool.” Continue reading JEFF LOOMIS – Life After NEVERMORE: “ARCH ENEMY Is My Main Priority”
Better late than never, as the saying goes. Initially this interview with Nonexist vocalist Johan Liiva was intended to be released in October 2015 in tandem with the release of the band’s third album, Throne Of Scars. Unfortunately, he decided to leave the band shortly after the record was unleashed, leaving the band’s existence – no pun intended – in doubt. Liiva’s hectic personal and professional schedule made a timely follow-up chat impossible, leaving me no choice by to shelve the interview due to some painfully large holes in the story. As the months passed, however, it became clear thanks to the magic of social media that Nonexist was still very much alive with guitarist Johan Reinholdz – also of Andromeda fame – up front, and that it had been an amicable split with Liiva. Reinholdz elected to fill in the glaring blanks of the original article, dismissing any misconceptions of the band being dead and buried.
“We recorded the first album and released it through Century Media in 2002, but it was actually signed to New Hawen,” Liiva begins, explaining how he ended up back in Nonexist following the 10 year gap between debut album, Deus Deceptor, and its follow-up From My Cold Dead Hands. “The label went under and the band kind of dissolved after that. I continued on with Hearse, recorded some abums and did some shows and short tours with them, and in 2011 I was feeling bored (laughs). I had the itch to do something and spoke to Reinholdz and he told me he had a lot of music that went back as far as the first Nonexist record. I was so surprised to hear that (laughs). So, we decided to give it a try and it was a really exciting time. The songs that we did three years ago for From My Cold Dead Hands had been written over the previous 10 years.”
“The recording process for Throne Of Scars started almost immediately after we finished From My Cold Dead Hands. The writing basically went on for the last three years or so. It’s been a long process but that’s the way we like to do it. We had lots of time to cram everything into it and experiment. A lot (laughs).” Continue reading NONEXIST – Not Dead Yet
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 BraveWords Exclusive: ARCH ENEMY’s ’90s-Era Return As BLACK EARTH – “It’s 100% Nostalgia”
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 ALISSA WHITE-GLUZ In ARCH ENEMY Territory – “Êtes-Vous Fucking Prêt?!”
At BraveWords we’re doing our annual look back on the year that was, with each scribe offering up their respective lists of Hots and Nots of 2015. My rundown is available below; the original version along with links to the other members of my BraveWords family can be found here.
Top 20 Albums Of 2015
1) QUEENSRŸCHE – Condition Hüman (Century Media)
2) CRADLE OF FILTH – Hammer Of The Witches (Nuclear Blast)
3) KAMELOT – Haven (Napalm Records)
4) CHILDREN OF BODOM – I Worship Chaos (Nuclear Blast)
5) SYMPHONY X – Underworld (Nuclear Blast)
6) DANKO JONES – Fire Music (Bad Taste)
7) GRAVE – Out Of Respect For The Dead (Century Media)
8) DEAD LORD – Heads Held High (Century Media)
9) CHRIS CAFFERY – Your Heaven Is Real (Metalville)
10) SLAYER – Repentless (Nuclear Blast)
11) HELLOWEEN – My God-Given Right (Nuclear Blast)
12) NONEXIST – Throne Of Scars (Mighty Music)
13) FEAR FACTORY – Genexus (Nuclear Blast)
14) STRYPER – Fallen (Frontiers)
15) CIRCLE II CIRCLE – Reign Of Darkness (earMusic)
16) THE V – Now Or Never (Frontiers)
17) STRATOVARIUS – Eternal (earMusic)
18) ANNIHILATOR – Suicide Society (UDR)
19) LEAVES’ EYES – King Of Kings (AFM)
20) MOTÖRHEAD – Bad Magic (UDR) Continue reading BraveWords 2015: The Scribes Speak – Carl Begai
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 ARCH ENEMY And JOHAN LIIVA – Building Bridges
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.
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 KAMELOT – Enter Haven: “Be Our Guest…”