RICH GURNSEY IS A GRAPHIC DESIGNER AND HEAVY METAL DJ EXTRAORDINAIRE. HIS HOBBIES INCLUDE ADVANCED SHADOW PUPPETRY, GUESSTIMATING,
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RISE OF THE TYRANT

By Rich Gurnsey for the Technician and TechnicianOnline.com
Published: November 7, 2007

Rise of the Tyrant is a fine example of Gothenburg metal, aka melodic death metal: It combines the harsh, monstrous vocals and brutally heavy guitar riffs of death metal with elegant melodies and technically sophisticated guitar harmonies. (Other well-known bands in the Gothenberg genre include Dark Tranquility and At the Gates.)

This is Arch Enemy's seventh album, and the Swedish band seems more cohesive than ever, with brothers Christopher and Michael Amott (formerly of Carcass) engaging in a powerful call-and-response of Neoclassical guitar solos. And the savage growls of front-woman Angela Gossow, one of the few female death metal vocalists, are her cleanest and most penetrating to date.

The first track, "Blood On Your Hands," begins with the sound of air-raid sirens, which is appropriate, considering the bombardment of metal that immediately follows. Intense riffs and blistering solos are layered with powerful melodies that are reminiscent of In Flames, a genre pioneer.

"The Last Enemy" continues at warp speed and is a good showcase for Gossow's vocal styling, which isn't quite as unintelligible as most death metal vocals. Her screams aren't as manipulated as in previous albums, and they are wrought with emotion. In this, her fourth effort with the band, she has come into her own, proving she is as terrifyingly leather-lunged as any of the best death metal vocalists. The song ends with a short acoustic outro. This nicely positions it before the prog-like beginning of "I Will Live Again," a slower-paced track that gives the listener time to catch a breath before "In This Shallow Grave," which is packed with solos and Iron Maiden-like harmonies.

"Revolution Begins," another notable track, is a mid-tempo anthem guaranteed to get some fists pumping at Arch Enemy's concerts. The song ends with a crowd chanting "Hey! Hey! Hey!" - lyrics easy enough for even the most inebriated headbanger to scream along to.

The title track begins with a sound clip from the movie Caligula, neatly setting the tone for decadence rife with frenzied solos. "The Day You Died" (one of the album's more commercial-sounding songs, along with "Revolution Begins") juxtaposes melancholy guitar riffs with Gossow's most evil and angry vocal performance.

"Intermezzo Liberte," a beautiful interlude featuring crying guitars, adds an element of sophistication and maturity to the album. The album ends strong with "Vultures," one of the best tracks: Its classically influenced intro explodes into aggressive, thrashy, mosh-pit material.

Arch Enemy has created their finest work with Rise of the Tyrant. The band's chemistry is evident throughout the album, which is well balanced and features kick-ass song writing, production and all-around musicianship. They don't break any new ground with this effort, but it should nonetheless prove Arch Enemy is a force to be reckoned with in the Gothenburg scene. Recommended for fans of In Flames, Carcass or Children of Bodom.