Artist: Arch Enemy
Label: Century Media Records
Release Date: 7/26/05
Abyss's Review:
Okay, I don't know which Amott brother it is, but one of them has got to stop listening to 80s radio before working on his leads. First it was Lionel Ritchie's "Hello" making its way into the lead of "Demonic Science," now this album sees "Cruel Summer" making its way into the lead of "My Apocalypse." Don't get me wrong, these things aren't close or long enough to warrant a lawsuit, but come on...That doesn't even address their song off of Wages called "Burning Angel" that could easily be mistaken for the opening riff of "Hangar 18" from Megadeth.
"One word review: Flawed." Okay, rant over. Arch Enemy have come out with a good album that is frustrating in many ways. The songwriting has probably improved since the last record, but production has become far too slick. This statement can be applied to the sound as a whole, but it becomes most evident with regard to Angela's vocals. There are so many effects draped over each and every word she screams that it's hard to believe that this vocal performance couldn't have been phoned in by anyone. I don't think I've ever heard a more synthesized voice. It's not even that it sounds all that bad, but it leaves very little room for expression, and as a result the vocals are completely secondary, just serving to move the song along and give you something to scream when the chorus kicks in.
The rhythm section also loses a lot of power here, and I can't help think that this band would benefit tenfold if they just put a little more of an organic sound in the mix. I mean, I don't think I even know any industrial bands that sound this mechanized. These guys should look in the direction that Nevermore went and follow suit, that's how you make a slick production job work.
The songwriting saves this album from being a total disappointment. I love screaming the chorus to "My Apocalypse" and "Nemesis," and there are a handful of other cool tracks as well. Bottom line is this album could've been something so much better, and I fear it is just evidence that this band may be becoming content in not pushing forward. One word review: Flawed.
Death's Review:
Stop the presses - the tastes of the commercial world have finally caught up with Arch Enemy. The band's sixth studio album, and the third featuring vocalist Angela Gossow, lands at a time when metal is thriving and wild, searing, neo-classical guitar solos are held in high regard once more. The result is a better than expected debut at number 87 on the Billboard Top 200 album chart here in the U.S., and a slot on the Ozzfest 2005 second stage. The album backs up the hype. On the one hand, if you've been along for the ride with Arch Enemy for a while now, you'll appreciate the slight shift back to the crazy riffage of records like Burning Bridges and Wages of Sin. That said, Doomsday Machine does retain some of the polish and the fist-pumping commercial intent which built the band some momentum with their last album, Anthems of Rebellion. Perhaps most important is the stellar, first-rate Andy Sneap production. It really is well done, and gives the album a real punch while providing some more subtle, more interesting sonic elements as well. A major-label level audio experience for sure.
"Some of the best produced and most intricate technical thrash ever recorded." Ranking this album in the Arch Enemy catalogue is tough. It's better than Anthems, on par with Wages but better-produced. I'm a little played on Angela overall, and her fairly generic vocals. And enough of the 'all for one, one for all' lyrical themes already. Been there done that. But the shredding is undeniable here. It is so good, that this almost becomes a five skull record based on the guitar solos alone. Throw in some killer drumming from Daniel Erlandsson - some of the best of his career - and you will realize that this is pretty great stuff overall. So subject to the aforementioned caveats, this is a 5 skull record - some of the best produced and most intricate technical thrash ever recorded. That's the reason to get this album.
Hel's Review:
Arch Enemy has returned with another opus of guitar virtuosity. Melody is once again king and the arrangements on Doomsday Machine are impressive. The band is clearly hitting their stride, continuing unerringly along their chosen path. It is nice to see a band stick to their creative guns and still be able to find some commercial success as well. I’m certainly far happier seeing Arch Enemy on Headbangers Ball than most of the metalcore they’ve been serving up these days.
"Arch Enemy has returned with another opus of guitar virtuosity." I would like to see a little more depth in the lyrics however. The chorus ”All for one, one for all” is feeling a little too much like ”We will rise” from the last record. And a companion complaint I have is that Angela seems to have become comfortable with her style, but I feel that this has led to a monotonous-sounding delivery. It just sounds like the same note again and again to me.
But these are minor complaints, and can easily be ignored if you’re of a mind to. The new songs are undeniably holding up well alongside their prior material in the live setting, and are going over great with the kids at Ozzfest, from what I could see. The Andy Sneap production job is, of course, flawless, and sounds fantastic. If you’ve been onboard the Arch Enemy train all along, you will find absolutely no reason to leave your comfortable seat, unless you’d care to scoot over and make room for some of the Ozzfest crowd that will undoubtedly jumping aboard in droves.
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