For three full decades, Arch Enemy have sat atop the Swedish death metal scene. Like some kind of formidable final boss. With a legacy built on brutality, intensity and zero compromise. They have stood tall among their contemporaries, representing a high watermark for the genre as a whole. Weathering line-up changes and the ever changing musical landscape with aplomb.
All of which makes the title of their twelfth studio album, Blood Dynasty, seem all the more appropriate as Arch Enemy celebrate their thirtieth anniversary. The bands guitarist and founding member Michael Amott is particularly proud of their latest effort too-
“This new album pushes the boundaries of what we’ve done before – it’s everything you’ve come to expect from this band, and then some! We can’t wait for you to hear it and feel the energy we’ve poured into every track. Welcome to the Blood Dynasty!”
Brave words from a man whose riffs have gifted a generation of headbangers with whiplash and tinnitus. So, how does Blood Dynasty measure up?
The albums opening track, Dream Stealer certainly starts things off with the kind of ferocity you’d expect. Beginning with a haunting chuch organ and demonic choir that wouldn’t sound out of place in a Vincent Price movie. Quickly giving way to a landslide of blast beats and high octane guitar witchcraft. It ticks all the boxes. Making it easy to see why Arch Enemy chose the track as a first taste of what was to come on Blood Dynasty.
Alissa White-Gluz sounds like she’s on top form too. Holding court above the maelstrom as the fury of Dream Stealers subsides and the album shifts down gear into the satisfyingly dissonant chugging rhythm of it’s follow up track, Illuminate The Path.
So far, so good and while Arch Enemy haven’t massively changed up their formula thus far. There are definitely signs that they are pushing themselves. From the tremolo drenched guitar solo on March of the Miscreants. To the soaring harmonies of A Million Suns. They sound more confident and assured than they did on 2021’s Decievers. As if they haven’t just found their groove again, but have now locked into it completely.
It doesn’t feel like long until you’re at the albums halfway point, marked in this case with an instrumental interlude called Presage. The simple acoustic guitar and string section seems uncharacteristically delicate. Feeling like a brief moment of tranquility in the eye of a hurricane. More than just a respite from the high gain chaos, the melody carries masterfully over into the albums title track, Blood Dynasty. Which, being slightly slower paced, definitely benefits from the shift in dynamics. Giving it a little extra punch where it might otherwise have felt weak against some of the albums more ferocious tracks.
Back into high gear again, Paper Tiger has an altogether more thrashy feel. With a bridge that sounds like pure Megadeth. So much so you can almost imagine Dave’s trademark sneer over the top of it. Then comes perhaps Arch Enemys boldest choice on Blood Dynasty, Vivre Libre…
The observant among you will no doubt have noticed that not once so far in this review have Alissa’s clean vocals been mentioned. Having been a divisive talking point of every record she’s featured on so far, they’ve been notable largely by their absence from Blood Dynasty.
So, when their cover of a Blaspheme track from the mid-eighties kicks in, with nary a growl or guttural war cry to be heard. It comes as a bit of a shock. The track undoubtedly showcases Gluz’s impressive vocal range to its fullest and it’s a nice tribute to her Canadian heritage. For a band that has never previously released a cover versions as more than a b-side or bonus track though. It feels an odd time to start.
With the finish line in sight, Arch Enemy bring things to a close with a double barrel assault on the senses that seems much more fitting. Starting with Blood Dynasty’s penultimate track, The Pendulum. Which brings things back to more familiar ground. With a stomping riff and some tasty dual guitar harmonies from Michael Amott and newcomer Joey Conepcion.
It’s Liars and Thieves, Blood Dynasty’s finale that really stands out though. With a furious galloping rhythm and majestic lead guitar lines. Coupled with a bridge stripped straight out of the power metal 101 handbook. It’s easy to see why Arch Enemy chose to debut this track above all others on their recent ‘Rising From The North’ tour. As aside from being one of the albums strongest tracks, it perfectly encapsulates where they are now as a band. Still as venomous as they’ve ever been, but with that ever present melodic twist that has always set them apart.
So, when it’s all said and done, does Blood Dynasty live up to Amott’s bold claims? Yes and no. While as an album it never reaches the heady heights of say, Wages of Sin or Doomsday Machine. Or reinvents the Swedish death metal wheel. It’s an undoubtedly solid effort and definitely sounds like the most confident and self assured version of Arch Enemy we’ve heard in the last ten years.
They say the last thing a heavyweight boxer loses is their punch and Blood Dynasty proves that. Even though they’re three decades into their career. Arch Enemy can still land a knockout blow with the best of them. We can only hope they keep swinging for another decade or two!
Blood Dynasty lands on store shelves and streaming platforms later this week on March 31st and is available to pre-order or pre-save now in a variety of flavours. To stay up to date on Arch Enemy and any forthcoming announcements, you can head over to the bands official website. Or, join in the discussion about Blood Dynasty on social media. The band are set to return to the UK for a full headline tour this October. With support from Amorphis, Eluveitie and Gatecreeper, tickets for which are available now.
