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Arch Enemy: Angela Gossow (vocals); Michael Amott, Christopher Amott (guitars); Sharlee d'Angelo (bass guitar); Daniel Erlandsson (drums). One gets the feeling that Doomsday Machine is something of a make-or-break album for Sweden's Arch Enemy. Easily the most commercial effort of the band's career thus far, it signals that dangerous moment in any heavy metal band's existence when, in a bid for acceptance on a wider scale, the bandmembers must risk upsetting the loyal fan base that has carried them thus far. Then again, original diehards already accused Arch Enemy of selling out years before, when they replaced popular frontman Johan Liiva with newcomer Angela Grossow and inaugurated their experiments with more subtle metallic songwriting tricks. And when your man in charge is Michael Amott, survivor of countless heavy metal style battles and long-deceased former bands, guitar-driven overkill is really the only surefire guarantee -- with risk-taking simply a function of the game. Doomsday Machine's "game" begins with "Enter the Machine," a majestic, harmony-laden instrumental that some might find more adequate for a power metal album than anything from Arch Enemy, but which actually proves very fitting as exceedingly melodious songs like "Taking Back My Soul," "Mechanic God Creation," and "Slaves of Yesterday" proceed to be unleashed. The serious thrashing of yesteryear is dominant on only a couple of cuts: the rather average "Machtkampf" and the quite memorable "Nemesis," neither of them sacrificing their melodic touches, as the Amott brothers appear intent on chugging out cleaner, linear riffs instead, and leave drummer Daniel Erlandsson to account for much of the hyperactivity from the rear. As for the front, vocalist Gossow's ragged croak is really put to the test by the band's increasingly melodic and dynamically varied instrumental backdrops, giving rise to legitimate concerns as to whether she has finally transformed from asset to liability. Never an overpowering presence to begin with (calling Karyn Crisis!), at times she totally nails it (such as on the album highlight "Carry the Cross"), while at others she's given the studio processing treatment (see the quasi-industrial "My Apocalypse"), as if in a bid to keep up with the surrounding din. Not that the lyrics handed her by Amott provide much inspiration, either, seeming geared less toward actual meaning than sounding good and functional in a chorus (witness the utterly disposable "Skeleton Dance"). In summary, and regardless of the above reservations, there's no disputing that Doomsday Machine is, fundamentally, yet another immaculately produced Arch Enemy album, forged first and foremost by the vision of Michael Amott's guitar. If that vision lacks for extreme metallic fury because Amott has decided to make Arch Enemy the next Iron Maiden instead of the next Slayer, then at least his cards are laid out on the table, and fans can make up their own minds as to whether they want to follow. ~ Eduardo Rivadavia As the first band of its kind to feature a female vocalist, Arch Enemy is a bona fide pioneer. The German-born Angela Gossow replaced original bellower-from-hell Johan Liiva in 2001, and not only does Gossow deliver a brutal death-metal vocal sound that rivals Chuck Schuldiner (Death) and Dani Filth (Cradle Of Filth), but the once-unknown metal goddess has lunged Arch Enemy into metal's big leagues. DOOMSDAY MACHINE carries the torch of memorable, riff-laden metal established on Arch Enemy's previous albums, a sound fueled by the guitar work of brothers Chris and Michael Amott (the latter formerly of Carcass). "Mechanic God Creation" beats with a classic metal heart, intensified by modern and extreme metal touches. "Slaves Of Yesterday" and "Machtkampf" brandish ripping solos and keen note choice, while "I Am Legend/Out For Blood" grooves with old-school thrash abandon. In the competitive realm of melodic death metal, Arch Enemy continues to evolve and r Arch Enemy Doomsday Machine Songs Doomsday Machine Music Review Average Rating: (4.4 out of 5 stars)    List All Reviews Not bad, but not their best Not the masterpiece i was hoping for, but still has awsome guitar riffs. Needs to be more brutal. Nemisis kicks ass, need more songs like that. Still a worthy buy Submitted by Ace (Irwin, PA.)  Was This Review Helpful? Yes No 1 of 1 found this helpful.
Me so happy. Like many bands from Europe Arch Enemy brings forth another fine CD. Angela's voice is as fierce as ever(yes the rest of the band did good to). I hope to see more from Arch Enemy in the futre. Submitted by thundergod7778 (Arlington, WA)  Was This Review Helpful? Yes No 1 of 1 found this helpful.
Great Death Metal This is the third album of the band with Angela and probably is the best one. I think the theatrality of this one is its best caracteristic, every song has power and character. I really think is one of the best options in metal of the year Submitted by tharsiel (Mexico, Puebla)  Was This Review Helpful? Yes No
Finely produced thrash record. Arch Enemy seem to keep coming up with great songs on each album. Record #6 is more of the same; wicked vocals, incredible guitar work and superb drumming. What more can you ask for? Personally i prefer a little more speed but hey, its still a spine splitting metal record. Submitted by hauntedenemy (mississauga, on)  Was This Review Helpful? Yes No
very intense- must buy! this album got me into the Swedish Death Metal scene. there are extremely intense guitar riffs, punding bass, and brutal yet awesome drumming. i recommend this album to any fan of metal! Submitted by brad (Hamilton, ON, CAN) Was This Review Helpful? Yes No
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Purchase Doomsday Machine CD To buy, Click on price to add to cart | Arch Enemy Wages Of Sin CDs (2001)
Doomsday Machine
$13.45 Two CDs for the price of one! Featuring a total of 8 bonus songs, 'Lament Of A Mortal Soul', 'Starbreaker', 'Aces High', 'Scream Of Anger', 'Diva Satanica', 'Fields Of Desolation', Damnation's Way' & 'Hydra'. Also includes videos ...
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Doomsday Machine
$12.95 This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Nevermore: Warrel Dane (vocals); Jeff Loomis (guitar); Steve Smyth (guitars); Jim Sheppard (bass guitar); Van Williams (drums). Nevermore's sixth album arrives bearing few surprises -- which, for a band less accomplished or too comfortable in their niche, would generally be seen as a negative attribute. Not here, as ...
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Doomsday Machine
$12.79 Digitally remastered, post Deep Purple album for the futureWhitesnake frontman. Originally released in 1977. Includes two extra, alternate take bonus tracks 'Peace Lovin' Man (take 1)' and 'Sunny Days (take 1)'. 2000 release. Standard jewcase.'
Whitesnake: David Coverdale (vocals); John Sykes (guitar); Neil Murray (bass); Aynsley Dunbar (drums). Additional personnel: Bill Cuomo (keyboards). Personnel: David Coverdale (vocals); Micky Moody (guitar); Tim Hinckley (keyboards); Roger Glover (synthesizer); De Lisle Harper (bass); Simon Phillips (drums); Liza Strike, Helen Chappelle, Barry St. John (background vocals). Includes liner notes by Simon Robinson. Digitally remastered by Nick Watson (SRT Studios). CD contains 2 bonus tracks. After Deep Purple crumbled in the mid-'70s, vocalist David Coverdale began a solo career with 1977's White Snake. Before too long, Coverdale would adopt that album title as the name of his new band. Coverdale gathered future Whitesnake guitarist Micky Moody, keyboardist Tim Hinckley, bassist De Lisle Harper, and noted session drummer Simon Phillips. Background singers Liza Strike, Helen Chappelle, and Barry St. John are prominently featured, too. Uncredited horn players also contribute to the album. Ex-Deep Purple bassist Roger Glover produced the album and also added some synthesizer parts. White Snake is a tentative, generally disappointing album because Coverdale ...
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