By Carl Begai
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 AMARANTHE Vocalist ELIZE RYD – Between The Lines
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.
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 BraveWords Interview: ARCH ENEMY – This Means War!
By Carl Begai
The departure of vocalist Angela Gossow should have and probably would have destroyed Arch Enemy had the situation not been handled with the elegance and intelligence that it was. Fact is her entrance in 2000 is what yanked the band out of the underground and put them through the roof, and only the devout Johan Liiva followers from way back wanted to see her gone. She left the ranks gracefully, and with the ultimate parting shot: choosing singer Alissa White-Gluz (ex-The Agonist) as her successor. It’s amazing what a lack of drama and a new focus can accomplish; in this case, the creation of Arch Enemy’s strongest album since Anthems Of Rebellion, possibly their best ever. Beg to differ all you want, but to these ears the Arch Enemy war machine has sounded increasingly tired in recent years, not quite spinning its wheels but definitely in need of a tune-up. War Eternal is the battle cry of an armed-to-the-teeth new model strike force.
Simply put, War Eternal epitomizes melodic death metal; emphasis on “melodic.” There are truckloads of melody woven, stacked, and layered through the full length of the record, to the point of guitarist / braintrust Michael Amott being wonderfully obnoxious about it. Even the heaviest tracks on the record – ‘Never Forgive Never Forget’, ‘As The Pages Burn’, ‘No More Regrets’, ‘Stolen Life’, ‘Avalanche’ – are built around miles and miles of melody-based hooks that never get dull. And even when it sounds like there’s potential for cheesy softness around the edges, as on ‘You Will Know My Name’ and ‘Time Is Black’ (thanks to the latter’s symphonic / keyboard backbone) the damn hook-and-melody attack works wonders. And there’s the title track, a bloody anthem for the ages that I daresay may be one of the finest Arch Enemy songs ever written, second only to ‘Nemesis’. Depends on how you like your AE, of course, but what may sound like head-in-the-clouds accolades will at least give you an idea of the infectious high quality of the material. Continue reading ARCH ENEMY – War Eternal: “Wonderfully Obnoxious, Brash And Addictive”
By Carl Begai
Just as Canadians have been pegged by the world at large as being nice and polite in any given situation no matter how dramatic or off-putting (no, we are fucking not), Japanese metal fans have been saddled with the reputation of being reserved and disciplined to a fault regardless of how intense a band might be on stage. Arch Enemy’s latest DVD, Tyrants Of The Rising Sun, rips this myth to shreds. Perhaps it was due to the cameras set up on the night, or maybe it’s because Japan has become Arch Enemy’s home turf in a bizarre trans-continental way, but the audience that the band plays host to on this latest live retrospective was anything but sedate. Like the fans in North America and Europe – perhaps even more so – the Japanese legion hang on every word and every note as the gig plays out, breaking into song and applause when instructed, unleashing soccer chants and circle pits as the music and atmosphere dictate. No question, Japan’s metal fans can wear Arch Enemy’s trademark “Pure Fucking Metal” shirts with pride.
Continue reading ARCH ENEMY – Soccer Chants And Circle Pits