Since emerging in the late 1990s, Arch Enemy has been a relentless force in the extreme metal scene, defying expectations, and redefining boundaries with each new release. On "Blood Dynasty", their 12th studio album, the Swedish band, led by guitarist Michael Amott and driven by the ferocious and increasingly versatile vocals of Alissa White-Gluz, delves into diverse territories—sometimes epic, sometimes direct, and raw—without abandoning the identity they've built over decades. Although the album doesn't follow a fixed lyrical concept, its title serves as a disturbing mirror of the contemporary human condition, as bassist Sharlee D'Angelo explains in this exclusive interview.

I spoke with Sharlee about the behind-the-scenes of their new album, the creative challenges faced in the studio, Alissa's growing impact not only as a vocalist but also as a lyricist, and the bold move of including a dark ballad sung in French on the album. He also recalls important milestones in Arch Enemy's career and hints at the band's long-awaited return to Brazil — which should happen very soon.

Marcelo Vieira

What is the meaning behind the title "Blood Dynasty"?

Overall, I think it can be seen as a symbol of humanity as it stands today. If you take a step back and look at the world in broad strokes, that's pretty much the central idea behind the title. Of course, it can carry different interpretations—but essentially, that's what it is.

And how does this title connect with the lyrics and the sound of the album?

Actually, the record doesn't follow a larger lyrical concept—each track works independently. So there's no single overarching storyline tying everything together.

When the album was announced, Michael Amott mentioned that "Blood Dynasty" would push beyond what fans expect from Arch Enemy. From your perspective, what elements of this record take the band to a new level and might surprise listeners?

I think it's in all the subtle details across the songs. In general, we challenged ourselves to go a little further in many different aspects. Some tracks have a more layered atmosphere, others lean toward the epic side, and a few are very direct and to the point. We explored different directions, but still managed to keep a cohesive identity throughout the whole record.

How was the recording process of "Blood Dynasty" compared to the previous albums?

It followed pretty much the same approach as always. The way we work in the studio hasn't really changed. The main difference lies in the songs themselves, which always bring new challenges. Sometimes you have to push yourself as a musician, because you come across parts you've never quite played like that before—so there's this extra effort involved. But aside from that, it was business as usual: trying to cram as much metal as possible into each track.

Was there anything new you tried during the writing or production process that hadn't been done before?

Not exactly. We tend to stick to the same working method, but the final outcome always changes naturally. Each album ends up being a kind of reaction to the previous one—there are things we loved about the last record, and others that maybe don't excite us as much anymore. So we always try to take a step forward. Every album presents its own challenges for everyone in the band.

Alissa White-Gluz has brought new energy since joining as vocalist. How do you think her voice and stage presence have shaped Arch Enemy's sound in recent albums, including "Blood Dynasty"?

I think the impact has been huge. Vocals are a central element in most of the songs nowadays. And Alissa is constantly evolving—you can hear the growth from one album to the next. A clear example is the use of backing vocals and choirs, which she has been developing more and more, and they're more prominent on "Blood Dynasty" than before. She's always bringing in new ideas and nuances, making sure not to repeat herself. That's been a key factor in the evolution of our sound.

I also feel Alissa's talent as a lyricist is often underrated. Can you talk a bit about that side of her work?

Absolutely. I think she's an excellent lyricist. What's really cool is that Michael writes in one style, and Alissa in another, and the combination makes for something really interesting. It adds variety not only to the lyrics themselves but also to the vocal phrasing and rhythmic patterns. That diversity works really well for us.

Why did the band decide to release so many music videos—five in total—for "Blood Dynasty"?

That's probably a question for the label, because it was the same with the last album. [Laughs.] But in today's world, with the way music is promoted and consumed, it's extremely important to maintain a constant presence. People live on platforms like YouTube, so it's essential to keep appearing. I think that's the main reason behind the number of videos.

Of course, it requires a lot of work on our side—on the last two albums we had to do a lot even before the official release. Luckily, we worked with excellent directors, which allowed us to create a nice variety of visual styles across the clips.

Personally, I don't mind it, but it's very different from how things used to be. Back then, you'd release one single with a video before the album, maybe another one after—that was about it. Today… it's a different reality. But as I said, better ask the marketing team. [Laughs.]

Track 9 of Blood Dynasty is a cover of "Vivre Libre" by the French band Blaspheme. What inspired that rather obscure choice?

We usually record some covers for special editions, like bonus tracks for the Japanese market, for example. And this one was Michael's suggestion—he loves digging up obscure European bands. He has a huge collection of French metal records, and while I already knew Blaspheme from the '80s, this specific song I only heard because he played it for me years ago. Since then, it became one of our favorites.

And now, with a singer who not only has a great voice but also speaks French, we thought: why not give it a try? At first, it was meant to be just a bonus track. But the final result—especially with Alissa's interpretation—was so good that we thought: "Why not put it on the album?" We had never included a cover on an official record before. Plus, it's a ballad, in French, which is something completely new for us. Some people might not like it, and that's fine—it's just one song. It's not like the whole album is French ballads. [Laughs.]

Over the years, Arch Enemy has recorded several covers, both metal and non-metal. Is there one that stands out as particularly meaningful for you?

I like a lot of them, but one of my favorites is our 2014 cover of Mike Oldfield's "Shadow on the Wall." I think we managed to transform the song in a way that made it very much our own. The more we can rearrange and stamp our identity on it, the more fun it is. And in that case, I think the result was excellent.

With 12 studio albums, Arch Enemy has built a powerful legacy in metal. Which moments do you see as the most important milestones in that journey?

I'd say the major milestones are the changes that really transformed the band. For instance, we've changed vocalists twice, which is always a delicate matter. You never know how the audience will react—all you can do is give your best. Fortunately, it worked out both times.

When Johan [Liiva] left in 2000 and Angela [Gossow] joined, it was a bold move—there were hardly any women in extreme metal at the time. She became an icon. And when she stepped down, finding someone who could measure up was a huge challenge. Then Alissa came along, and we were lucky she wanted to join. These changes really shaped who we are today.

There were also some unforgettable tours, like the times we opened for bands such as Iron Maiden and Megadeth—our heroes. Sharing the road with those legends is something you never forget.

Can fans expect a world tour in support of "Blood Dynasty"?

Yes! The tour kicks off in the United States—that's the first leg. Then we move on to Europe, and more dates will be announced afterward.

And what about shows in Brazil?

We've been talking about it, yes. Nothing officially confirmed yet, but we love playing in Brazil and we really hope to be back soon.