Review: Arch Enemy – Blood Dynasty

March 28, 2025

440

For all those who support the Red, White, and Gluz.

For the last 30 years, there arguably hasn’t been a band more synonymous with melodic death metal than Arch Enemy. Alongside their peers In Flames, Soilwork, Amon Amarth, Dark Tranquility and Children of Bodom, these Swedes have carved out a niche for themselves while simultaneously having lineup shifts that would easily break much weaker bands (unless your name is Nightwish). Initially forming in the mid 1990s with the unique vocal stylings of Johan Liiva, the group would elevate themselves to the next level in the 2000s with the addition of fan favorite German vocalist Angela Gossow. Her devastating growls matched brilliantly with the band’s technical brutality and carried them into the next era of metal culminating in the collective reaching a respected legendary status in the 2010s. Unexpectedly, part way through the decade Gossow took a step back from music leading to upstart Canadian singer Alissa White-Gluz fronting the band going forward.

This unholy union of Gluz and AE has led to a somewhat divisive third leg of the project’s storied career. Some are still firmly placed in Gossow’s tractor beam and refuse to accept any other sound, while others have grown to enjoy the more power metal-influenced stylings of White-Gluz’s version of Arch Enemy. Now 4 albums deep into the Alissa era of the group, the quintet’s 12th overall record, Blood Dynasty, drops today via Century Media Records.

Arch Enemy has undergone numerous lineup changes aside from just lead vocal shake-ups over the years. Currently composed of remaining founding members Michael Amott on guitar and backing vocals and Daniel Erlandsson on drums they’ve been the steady compass keeping the ship centered throughout the decades. Sharlee D’Angelo has been accompanying them on bass duties for almost as long and the already noted Alissa White-Gluz, now 10+ years into her time with the group, has become the longest serving lead singer in the band’s history. The most recent full time addition to the 5-piece is guitarist Joey Concepcion in 2023, this new album serving as his first studio material recorded with the band. The biggest challenge during the modern era of Arch Enemy is figuring out how to utilize White-Gluz’s vocal style. Her strengths are much different compared to the previous vocalists and in turn there have been some growing pains over the last 10 years in the band’s pursuit of achieving a fully realized sound. They finally hit something close with their well-received 2022 project, Deceivers, and that sound for the most part is carried over to Blood Dynasty.

Opening track and lead single “Dream Stealer” starts off a little odd, but once it materializes into an operatic adrenaline tease, a vicious scream kicks the album into high gear. Arch Enemy, as noted above, has had a long spell of growing pains that seems to get less prevalent with each release and at the onset they appear confident and venomous. The blend of melodic death, groove and power metal is burning strong and has me banging my head throughout. Great performances all around. The cry of “Dreammmmm stealer” is so catchy and lends itself to an early memorable chorus of the project. The switch-up into the blistering solo caught me off guard and was wonderfully effective, and the track comes to a wonderful ending and doesn’t overstay its welcome—arguably beginning the project with the best track from the bunch.

Next up is “Illuminate the Path.” The opening of this one doesn’t feel super natural as a progression from the last number, but generates some excitement with its isolated guitar beginning. Catchy, fist-pumping drums and warm bass give way to some excellent, well-orchestrated rhythmic passages. Very much single release material (while actually not being officially released as one, which I’d say is a good sign for the project overall). Alissa sounds excellent and it really seems like this particular lineup as a whole has forged a solid chemistry over the last few years. For those who aren’t a fan of clean singing, this one might not be for you, but it’s effortlessly catchy and well-produced, so I think even the hardest deniers of this particular style for AE will still be bobbing their heads and tapping their feet. It takes a little too long for the solo to come in but in retrospect this is really the only spot on an otherwise sleek and lean listening experience where a track somewhat overstays its welcome. With the track falling into monotony, I was almost lulled into mindlessly bobbing along without being engaged but that solo instantly won me back ten-fold. Amott and Concepcion work wonderfully together in destructive dueling guitar showcases. The fade-out at the end is a little clunky but it’s still a solid cut overall.

I have somewhat similar thoughts on “March of the Miscreants,” minus the monotony. This track brings the great instrumentation of the first song with the melodic proficiency together and synthesizes it effectively. The lyrics fall a little flat for me. The word “miscreants” never struck me as all that tough or “metal” and admittedly undermines the track a little bit but nitpicks aside, the band’s chemistry and production mostly make up for that. This is another one that grows into a solid number with some mosh-worthy passages. I appreciate all the changes this song goes through. It’s a multi-pronged jack of all trades track that might be the song of the album for some but not for others. Admittedly, it also holds one of the best solos on the album in terms of anthemic intensity.

“A Million Suns” transitions super well from the last one; the guitar wizardry had me locked in right away. Feeling like a progression from the last track, it’s not as heavy but a really well done operatic power metal number with some extreme metal garnishes. The neoclassic shredding cuts here are divine and are a real highlight. The record seems to get a little more confident in this leg of the journey and finds a nice balance between heavy, extreme, and melodic styles of metal. Overall a pretty impressive number.

“Don’t Look Down” kicks off with an exhilarating drum fill and parlays into some killer grooves. This is an instant favorite—one of the best choruses and orchestrations on the entire project. Everyone sounds like they are giving it their all, and it’s certainly paying off. The cutthroat guitar riffage, cymbal work and distorted bass all work together in sinister, symphonic conjunction. Such a solid, hard-hitting metallic concoction. “Listen / They call your name!” is another standout lyrical excerpt. Finishing off with a dazzling solo and some of the best vocals on the whole record, the first half of the album wraps up on an impressive note.

The interlude “Presage” brings us to the second half of the record. It’s pretty but doesn’t add much—a nice calm before the storm that, much like the rest of the record, doesn’t overstay its welcome and is pleasing to the ear.

“Blood Dynasty,” the third single and title track time, baby! Even at their cheesiest, Arch Enemy are always sure to have a killer title track. A good title track should be emblematic of the whole record. It shouldn’t overshadow the rest of the material but still have some standout moments and draw in anyone test-driving the album by giving its title number a spin. Without question there is nothing worse than an underwhelming title track. Is this one underwhelming? Not really, but unfortunately it might be one of Arch Enemy’s weaker choices for namesake songs. Acting as the opening to the second half of the record, it doesn’t reach the exciting or aggressive heights of the first half, but as one of the more anthemic cuts it makes sense why this is the name-bearer of the record. I personally feel “Dream Stealer” is a stronger label for the project as a whole but I think this song does a serviceable job conveying the album’s themes.

“Paper Tiger,” another single, is one that immediately stands out and really captures your attention. Leaning into the power metal vibes with the more extreme growls, this is another solid crossover of the sonic textures this incarnation of Arch Enemy is proficient in. I feel this one was set up well by the title track and in turn spring-boarded off it to greater heights. Strangely enough, this song and some elements on the album as a whole give some classic metal vibes, just given a melodic death metal coat of paint. It might be reaching but some of the sonic footprints here trace on elements utilized to effect by bands like Skid Row or Judas Priest. Ending with an exciting solo, this a super fun number.

This next one, “Vivre Libre” (originally done by French band Blaspheme) might lose some people. I appreciate when bands try to give some varied sounds on a project and while this sort of feels out of place, Alissa has some standout moments here. The chorus hits well and while I don’t think this will be anyone’s favorite track I think it’s an appropriate addition that shakes things up just enough. I can see this being a great one to see live, especially if the crowd gets in on it. I can hear some Bruce Dickinson in how White-Gluz approaches this cover—very Neo-Dickinson-era Iron Maiden.

Closing in on the end of the record, side two hasn’t hit as hard as the first. These last two tracks have some tricks up their sleeves though. “The Pendulum,” another instant attention-grabber, brings back some of the missing heavy elements of side one. While I feel the album is front loaded with the best material, the way the second half of the record works as one long piece is really effective. Bonus points for another theatrical solo.

The grand finale, “Liars & Thieves,” starts out in a similarly theatrical way. After a slight fade, the final nail in the coffin goes in for the kill right away, planting itself as maybe the heaviest number on the whole album. This might rival the opening track as the true standout of the whole record. I wasn’t expecting this one. Nailing that final track either comes from a song going one of two ways: an emotional ending decree or exciting final proclamation. This track feels like an exciting ending to a project that doesn’t always hit the nail on the head but is another well-made and respectable outing from a band that still shows they have a lot to give to the metal world. This album’s greatest strengths are the opening and ending tracks having a great sense of synergy and the chemistry between the bandmates.

Overall, this record shows a lot of growth from a group that has become accustomed to changes over the years. The album is definitely front-loaded with the more impressive material, but the group has certainly found a more consistent pattern to utilize Alissa’s impressive vocal range and techniques in a more effective capacity. While not every song works, each track has its moments and passages that at the very least are entertaining. The most important takeaways are that the album sounds coherent, the opening and closing numbers are both certified bangers, and without a doubt Arch Enemy, through everything, is still thoroughly enjoyable to listen to and that’s more than worth the price of admission.

Top tracks: “Dream Stealer”, “Don’t Look Down” & “Liars and Thieves”