Arch Enemy – new video for “Bloodstained Cross”

Posted: September 6, 2011 in death grind
Tags: ,

Extreme Metal titans ARCH ENEMY have posted a new live video for the track “Bloodstained Cross” which is also included on the recently released album “Khaos Legions”.

“We’ve had a blast playing ‘Bloodstained Cross’ off the new Khaos Legions album at the summer festivals in Europe,” said guitarist, Michael Amott. “Luckily, our crew has been capturing some of the action and our front-of-house engineer edited this cool clip for us. Enjoy!”

The new “Bloodstained Cross” video can be seen online at this location:

ARCH ENEMY is currently gearing up for the North American leg of the band’s World tour, which will head stateside early next month. Devildriver, Skeletonwitch and Chthonic will round out the all-star lineup for the North American Khaos 2011.

Here all the upcoming tour dates:

North American Khaos 2011
+ special guests: Devildriver, Skeletonwitch, Chthonic
08 Sep 2011 – Baltimore, MD, Rams Head
09 Sep 2011 – New York, NY, Best Buy Theater
10 Sep 2011 – Worcester, MA, The Palladium
12 Sep 2011 – Quebec City, QC, Imperial
13 Sep 2011 – Montreal, QC, Metropolis
14 Sep 2011 – Toronto, ON, Phoenix
17 Sep 2011 – Winnipeg, MB, The Garrick Center
19 Sep 2011 – Calgary, AB, MacEwan Hall
20 Sep 2011 – Edmonton, AB, Edmonton Events Centre
22 Sep 2011 – Vancouver, BC, Commodore Ballroom
23 Sep 2011 – Seattle, WA, Showbox
24 Sep 2011 – Spokane, WA, Knitting Factory
26 Sep 2011 – San Francisco, CA, Regency Center
27 Sep 2011 – Los Angeles, Nokia Theatre
29 Sep 2011 – Phoenix, AZ, The Marquee
30 Sep 2011 – Albuquerque, NM, The Sunshine Theater
01 Oct 2011 – Denver, CO, The Gothic Theatre
03 Oct 2011 – Minneapolis, MN, First Avenue
04 Oct 2011 – Chicago, IL, House of Blues
15 Oct 2011 – Loudpark Festival, Saitama Super Arena, Japan
28 Oct 2011 – MetaLmorphosiS 2011, Cyprus
05 Nov 2011 – Aalborg Metal Festival, Denmark

Swedish Khaos 2011
+ special guests: Engel + local support band
08 Nov 2011 – Huskvarna, Folkets Park, Sweden
09 Nov 2011 – Stockholm, Tyrol, Sweden
10 Nov 2011 – Lund, Mejeriet, Sweden
11 Nov 2011 – Gothenburg, Trädgårn, Sweden

Khaos Over Europe 2011
+ special guests: Warbringer & Chthonic + local support band
Presented by Metal Hammer (Germany), Guitar (Germany), (Germany)
06 Dec 2011 – Sheperd’s Bush Empire, London, UK
07 Dec 2011 – Paradiso, Amsterdam, Netherlands
09 Dec 2011 – 013, Tilburg, Netherlands
10 Dec 2011 – Christmas Metal Meeting, Geiselwind, Germany
11 Dec 2011 – Rosenhof, Osnabrück, Germany
13 Dec 2011 – Essigfabrik, Köln, Germany
14 Dec 2011 – Le Cartonnerie, Reims, France
16 Dec 2011 – Le 106, Ruen, France
17 Dec 2011 – L’Echonova, Vanesse, France
18 Dec 2011 – CC John Lennon, Limogese, France
20 Dec 2011 – Backstage Werk, München, Germany
21 Dec 2011 – Garage, Saarbrücken, Germany
22 Dec 2011 – Z 7, Pratteln, Switzerland


ARCH ENEMY haben soeben ihr brandneues Video zu dem Song “Bloodstained Cross” auf YouTube gepostet.

„Bloodstained Cross“ stammt von dem erst kürzlich erschienen Album „Khaos Legions“ und das Video bietet euch einige beeindruckende Live-Szenen von den kürzlich absolvierten europäischen Festival-Shows.

„Es war einfach super “Bloodstained Cross” auf den Europäischen Sommer Festivals zu spielen“, kommentiert Michael Amott und führt weiter aus: „Glücklicherweise hat unsere Crew einiges von der Action auf der Bühne festgehalten und unser FOH-Technikers Clem Benett hat uns diesen coolen Clip editiert. Viel Spaß!”

ARCH ENEMY bereiten sich momentan auf ihre anstehende North American Khaos 2011 Tour vor, auf der die Band von Devildriver, Skeletonwitch und Chtonic unterstützt wird. Die Tour wird am 8. September starten und die Band einmal quer durch die USA und Teile von Kanada führen, bevor es dann im November wieder in Europa weitergehen wird.

  1. Grindcorefan says:

    After four long years of waiting, the newest studio release by Swedish crushers Arch Enemy, a blistering opus of personal freedom entitled Khaos Legions has finally become ready for public consumption. Khaos Legions marks the band’s first effort worth of new material since 2007’s Rise of the Tyrants. However, the wait has been worth it, Angela and company have created a new masterpiece, and the results scream for themselves.

    Khaos Legions was created at Sweet Spot studio in Sweden, and produced by the band along with Richard Bengtsson, who also worked with the band on 2005’s Doomsday Machine. The lineup for the new album remains the same, with Angela Gossow behind the microphone, Christopher and Michael Amott handling guitar duties, Sharlee D’Angelo manning the low end of the spectrum, and beat man Daniel Erlandsson. Additionally, guesting on this album is none other than keyboardist Per Wiberg of fellow Swedish metal band Opeth. As is normal for the band, the vocals are in the forefront here, with Gossow’s death-growling coming through loud and clear. Right behind that is the excellent guitar work of the Amott brothers – who trade off blistering leads with fast hand rhythm work. And of course, Erlandsson’s drumming and D’Angelo’s four string hold everything together nicely.

    When your musical output is as consistently strong as Arch Enemy‘s the notion of besting themselves with each new album becomes ridiculous. Khaos Legions is not the band’s most notable work, but rather another excellent sonic beast to add to their growing legacy.

    The album features fourteen songs (including 3 instrumentals) to feast your ears upon, and the first track, “Khaos Overture”, sets the tone for the anarchy that is to follow. Sampled police sirens, along with a gloriously evil sounding spoken word introduction segue into blistering guitar work, along with Gossow reminding us that “Yesterday is Dead and Gone”.

    “Yesterday Is Dead and Gone” is the album’s first single and hooks you immediately with it’s wailing lead riff. From there the song jumps into a decidedly melodic but moody piece that shows off all the things we love about Arch Enemy: Brilliant guitar work, with solid rhythms and Gossow’s caustic snarling and thought provoking lyrical content. Don’t be surprised if this one keeps popping up in your head throughout the day.

    Next up is the hyperspeed “Blood Stained Cross”, a brutal and no-holds-barred protest of religion. “Under Black Flags We March” continues the Anarchist manifesto, kicking off with D’Angelo’s chugging bass. Gossow takes us into a subject she’s both angry and passionate about on “No Gods, No Masters”.

    One of the highlights is the seventh track on the album, a piece entitled “Through the Eyes of a Raven”, which also happens to be the longest, spanning five plus minutes. This is another song that encompasses the best of Arch Enemy, and really lets all the band members shine. In addition to that the track closes with an interesting acoustic outro, something new fans may not be expecting from the first six tracks.

    Khaos Legions represents some of the band’s speediest and at times heaviest material to date. Just listen to “Cult of Chaos” and “Thorns In My Flesh” for some mosh pit paradise. Drummer Erlandsson is absolutely crushing on “Vengeance Is Mine.”

    Arch Enemy has come back with a fury on Khaos Legions. Once again igniting the flame and blistering our faces. While this is not their seminal album or most notable work, it will stand up to anything in their catalog, and the band can hold their collective heads high. The death metal flag continues to wave proudly under blackened skies. Khaos Legions rises to the challenge, and will not disappoint, proving that personal freedom and anarchy lead to some really fucking good music.

  2. Grindcorefan says:

    51YHlWJmBjL._SL500_AA300_If you’ve ever seen the 1990 film DAYS OF THUNDER, you’re in for a surprise on KHAOS LEGIONS, the new album from ARCH ENEMY (out this week via Century Media). As soon as you get past the introductory instrumental Khaos Overture, you’ll arrive at Yesterday Is Dead And Gone. Everything is chugging along nicely until we hit a bridge that sounds lifted from CARCASS’ HEARTWORK album followed by a lead at 1:11 that sounds just like the HANS ZIMMER score to DAYS OF THUNDER. While the thought of Tom Cruise chasing Michael Rooker around a race track (or hospital) to the music of ARCH ENEMY is appealing, this is just a hint of something even more… off about this album.

    At a glance, KHAOS LEGIONS is a solid metal album worthy of cranking up, but at a deeper listen there’s a lot of weird resemblances to other bands in both music and appearance.

    On their visual image, ARCH ENEMY has successfully managed to ape OTEP, twice. With their outfits bearing more than a passing similiarity to Otep’s during THE ASCENSION-era, frontwoman ANGELA GOSSOW’s features the words “Resist, Rebel, Reclaim” stenciled upon it, which sounds an awful lot like Otep’s 2009 single “Rise, Rebel, Resist.” Toss in that Football-style eyeliner, and now she’s looking like Goldie Hawn in WILDCATS dressed like Otep.

    Musically, you have the DAYS’ thing mentioned above, which somewhat returns by the 1:24 mark of Bloodstained Cross, setting up something else that irks me: whichever of the Amott brothers is playing those leads seems hellbent on making the listener feel as if they’re hearing the music from a late-80’s action movie montage, or listening to a videogame score. The tone is distinctive, and completely unwelcome. It detracts from everything the rest of the band is doing.

    By the time Under Black Flags’ bass intro recalls the Megadeth classic Dawn Patrol, I’ve grown tired of picking out the seed of other bands. In fact, this review is starting to make me think of this one.
    Average metal in a fancy package.

  3. Grindcorefan says:

    Недостаток времени заставляет обращаться к материалам спорадично, так что не серчайте на меня.
    Как таковой Death Metal привлекает меня только в виде творчества Death и Чака Шульдинера, далее я не продвинулся и не вижу в этом ничего зазорного. Обратиться к прослушиванию рычащей девушки Angela Gossow пришлось, как ни странно, из-за большого количества неликвида в музыкальных релизах. Но тут, как говориться, попёрло. Как не фанат Arch Enemy, могу сказать что альбом поразил до печёнок, хотя возможно преданные фаны группы станут плеваться при его упоминании.
    Группа активно перешла к облегчённым формам – если раннее это был Melodic Death Metal, то теперь всё это бесконечно приближается к мелодичному трэшу с вкраплениями риффов из хард-н-хэви.
    Начальный инструментал “Khaos Overture” умело подвёл к “Yesterday Is Dead And Gone”, фонтанирующему прекрасным соло к дэт-металу отношение малоимеющему. Мелодики на первом плане, а на втором рык Анджелы.
    Death-энергия сверлящим ритмом переходит в Thrash, а с вступлением соло-гитары переходит и вовсе в хард-рок. Только вокал возвращает к смертельным реалиям.
    В гитарных вставках и риффах скрываются вещи заставляющие вставать волосы на загривке. Не знаю как Вам, но мне подслушивать в музыке Arch Enemy ходы из Ozzy, Accept, Michael Schenker, Skid Row Было очень увлекательно. Завернуть а-ля Мальмстин – без проблем, ввернуть пару нот из UFO – тоже. Каждая песня увлекает идержит до последнего. Намерено или нет, но группа творит нечто эпохальное прямо на глазах. Поначалу склоняясь к оценке “очень хорошо”, я после ряда прослушиваний, определился с “Excellent”.
    Номинация на Thrash альбом и женский вокал в Золотых Максироках следует незамедлительно.
    Если можно было сделать доступным для других Death Metal, то Arch Enemy это с успехом сделали!

  4. Grindcorefan says:

    When you’re obligated (or just want) to listen to as much music as I do, it becomes difficult if not impossible to “memorize” a band’s back catalog in the way that, for instance, I devoured Metallica’s oeuvre nose-to-tail up through The Black Album… no lyric undigested, no riff unforeseen. Since the mid-90s I’ve been consuming music at a pace that preempts the kind of repeat listening that allows for that to happen, so as a result, when I review a new album by a long standing band I feel obligated to go back and refresh my memory by listening to their entire back catalog, the better to sift out the evolutionary analysis that any good review requires. This can be a time consuming, laborious process. Thank God, then, for a band like Arch Enemy, whose stubborn lack of forward progression makes that kind of retrospective nitpicking superfluous.

    If that sounds like a knock on the quality of Arch Enemy’s material, it’s not; I also enjoyed AC/DC’s last album – the first six or seven tracks anyway – but I hardly feel the need to go back to the Australian release of High Voltage and work my forward every time the band put out a new record (lest I overlook some crucial artistic tweak they’ve made in the interim).

    What a hell of a way to start off a review, then, considering Khaos Legions actually DOES constitute a bit of a makeover. It doesn’t negate the uniformity of the previous material, mind you, and it won’t send diehard fans screaming for the exits, but yes, the full on thrash of aeons past has been scaled back, in its place a refocusing of melody into something closely approximating power metal instead. It’s not the galloping, sing-song power metal of Gamma Ray, no, but whereas on previous albums Arch Enemy have often seemed stuck in a 90s rut, Khaos Legions finds them receding even further back into 80s trad metal while still retaining vestiges of (slower) 90s death metal.

    Of course, when you have the kind of talent that a band like Arch Enemy possesses, trad/power metal is an area fertile for reinvention, and for about half an album the band fires off one expertly played, immaculately produced neo-classic after another. It’s only on the back nine that the album runs out of steam: filler instrumentals start to pop up twice as often, tunes like “Thorns in My Flesh” have half as many ideas as earlier tracks like “Yesterday Is Dead and Gone”, and it all gets even more bloated if you actually listen to the bonus tracks – all covers – in direct succession.

    Furthermore, whereas Angela Gossow has wrongly been targeted in the past for lacking an appropriately guttural roar on their death metal material, this new direction actually opens her up for valid criticism, as the emphasis on melody definitely could have used a singer with more versatile chops. Gossow makes no attempt at clean singing anywhere on the record, so the vocals seem pretty one dimensional paired with the multifaceted melodic structures.

    These are not fatal flaws, but they do prevent Khaos Legions from aspiring to the career peak/second wind the band no doubt intended it to be. If anything, Gossow and co. might have improved the album immensely by taking advantage of the current trend for brevity and just trimming some of the fat. Album closer “Secrets” would leave a much better impression if it didn’t have momentum killers like “Thorns in My Flesh” and “Vengeance Is Mine” preceding it (“Vengeance” is not a bad track, but as the only song on the album that’s a full on throwback to their death/thrash material it’s woefully out of place here).

    And so, even though it’s not the masterpiece of reinvention it could have been, Khaos Legions is a bold step forward for a band that has until now seemed reluctant to toy with their sound too much. The one change Arch Enemy need to make if they plan to continue in this direction is to mix up the singing a bit… ie. Gossow either needs to learn to sing in something other than a guttural howl or else someone in the band needs to step up and offer clean, melodic backing vocals. The death metal vox don’t kill this material, but they do beg for a little bit of additional texture.

  5. Grindcorefan says:

    Since forming in 1996, Arch Enemy has dominated the Swedish metal scene and more recently, have begun to dominate the global death metal scene. ‘Khaos Legions’ is the latest chapter in the epic saga of this world-beating act, beginning with the melodic instrumental track ‘Khaos Overture’; the group sets the atmosphere for an ear-spiltting metal storm that comes next in the form of ‘Yesterday Is Dead And Gone’.

    The track begins with a heavy, distorted intro, which is typical of any death metal band. The drums seem to lack the intensity of the guitars but Angela Gossow’s vocals are as harsh and powerful as they’ve ever been. The energy and excitement brought on by this track is suddenly halted by a short and well-timed melodic guitar-only section; a strange choice to the casual listener perhaps, but something that will be welcomed by long-time fans looking for evidence that the band has pushed its sound forward within the harsher metallic sphere. ‘Bloodstained Cross’ comes next; Its intro is the kind that would break glass if played loud enough. The riffs on this one have more ferocity while the vocals are so intense and blisteringly violent; almost black metal-styled in delivery. The impact of the drums seems to have increased as well as the pace increases. Also noteworthy is the slow-paced solo on this track, which just seems to give the song a whole new dynamic.

    The intro for ‘No Gods, No Masters’ is nothing short of brutal, while the intelligent drum work by Daniel Erlandsson becomes more impressive with every section. The vocals dominate again though, overpowering the music in certain parts. “City Of The Dead’ meanwhile, starts with a choir section that is soon replaced by a hard-hitting riff. The track retains a certain level of heaviness all the way through which makes this that much more enjoyable for death metal fans. The lyrics seem to give the material a nihilistic feel towards the closing moments. The first thirty seconds of ‘Through The Eyes Of A Raven’, is blustered by a crushing riff and a short drums-only section takes over soon after before being replaced by some more expert guitar work combined with seriously raw and affecting vocals. The track remains savage and fierce for the remainder (well, aside from the solo, which has more a jazz-meets-metal sound, and the acoustic outro).

    Another standout on this album is ‘Thorns In My Flesh’. It is certainly one of the most exciting and powerful tracks on the record and is, arguably one of the most addictive and infectious songs written by Arch Enemy in recent years because of its anthemic qualities and powerful delivery. Overall, ‘Khaos Legions’ is a testament to as why the Enemy have dominated the global death metal scene for the past few years. They have re-energised their sound with this album while managing to also stay true to their older influences at the same time.

  6. Grindcorefan says:

    This year has already brought us some great metal releases and it just keeps better and better. Arch Enemy has always been one of my fave bands so when I heard that they were going into the studio to record a new album I was more then thrilled. “Khaos Legions” is heavy, melodic, fresh and yet it is still comparable to their other material. Their music seems to grow even though they have all mastered their respective crafts a long time ago.

    I generally don’t like intros on cds and find them to be a bit useless however the intro to Khaos Legions is a perfect beginning to what soon follows on this hard hitting album. The album is filled with intricate guitar work, killer riffs and awe-inspiring solos. One of the things that I have always loved about Arch Enemy is the fascinating guitar work that comes form the Ammott brothers. When listening to the guitar work you can almost picture the two brothers smiling away together as they play, almost as if in a competition with one another. Daniel’s drum work on the album seems to have been turned up a notch with a good mix of fast and mid-tempo tunes.

    Angela continues to improve on her vocals delivering raw emotion and becoming more extreme with every album. This time around the album focuses more on freedom, anarchy, fighting for your freedom, standing up for yourself and less about conforming to society’s ways. I liked the line used in ‘No Gods, No Masters’ I am who I am take it or leave it. It is such a simple lyric yet it relates to so much for so many people. I guess what I am trying to say is that it speaks volumes.

    The album starts off a lot heavier then it ends. It has a couple of instrumentals, nothing over the top to be honest. It is their longest album to date clocking in at 56 minutes. Rickard Bengtsson joined the band for production duties once again (he worked with them on their Doomsday Machine album back in 2005). The artwork was done by Brent Elliot White.

    I am a bit biased about my opinion on this album because the band is one of my faves. I have always liked Angela’s fury, the Ammott brothers guitar work and the whole melodic feel to their music. The album does have familiar song structures however they have been turned up a degree. Nothing has really changed, it has only gotten better! This album is a must for every metal fan.


    01. Khaos Overture (intro)
    02. Yesterday Is Dead And Gone
    03. Bloodstained Cross
    04. Under Black Flags We March
    05. No Gods, No Masters
    06. City Of The Dead
    07. Through The Eyes Of A Raven
    08. Cruelty Without Beauty
    09. We Are A Godless Entity (instrumental)
    10. Cult Of Chaos
    11. Thorns In My Flesh
    12. Turn To Dust (instrumental)
    14. Vengeance Is Mine
    15. Secrets

  7. Grindcorefan says:

    With their 9th album, ARCH ENEMY are back with the political rather than musical manifesto. And if the songs that influenced them the most in terms of music were ‘New Age Messiah’ of SENTENCED and ‘Corporeal Jigsore Quandary’ of CARCASS, I think that the lyrics were inspired by the Russian nihilists, most notably Sergey Nechayev. And it wouldn’t be a paradox if I say that the lyrics actually are in line with the bourgeois conception of Anarchy, which for them means only chaos and destruction. But have no worries you prudent listener! Here we are in 2011 and their “anarchy” is their trademark to sell more t-shirts with cool logos, hoodies, CDs and shit like that from eBay, under the consumer “friendly” prices between $5 and $43. I bet that their label is brought down in its knees seeing the band’s mighty opposition to the status quo of the world as we know it and their high rank executives are begging for their lives spitting instead of blood all the caviar and pink champagne they have had in their whole life. Priceless!

    Apart from all that, you may wonder about the music. Well, if you believe that HATEBREED is a bunch of wimping nuns then this album is not for you. The album is not purely Death Metal and for the matter of fact it is hardly Melodic Death Metal. More than likely it should be characterised as Melodic Something Metal. The ‘Khaos Overture’ opens strikingly the whole album and then I surely enjoyed the tension and the dynamics of ‘Yesterday Is Dead And Gone’. In ‘Bloodstained Cross’ is a riff alarmingly similar to the ‘New Age Messiah’, but the song holds the proper levels of aggression. Personally I don’t mind at all they have adopted this musically lesser aggressive aspect in the songs; at least they didn’t acquiesce to their hardcore listeners. I guess that it will be only them who might oppose the intro of ‘Under Black Flags We March’, which has this tone of hype-rock, almost groovy that is.

    No need to write platitudes, the whole album seemed to be rather balanced, or it would be rather balanced if it stopped there. The problem is that they put way too many songs in it and the repetitions started to show up. I developed a certain fatigue, I might say. All their tricks and ideas seem to fade away pretty soon. The intro of ‘City Of The Dead’ is fantastic in its oriental aspect but they’ve killed it after some seconds making one wonder why on earth they’ve put it there in the first place. The thing that holds the whole CD in its place is surely the solos, the intros and the instrumental songs. But honestly, what are the differences of the riffs and the sound of the drums between CARCASS and ARCH ENEMY? Practically none. You can listen to ‘Corporeal Jigsore Quandary’ of CARCASS and that song pretty much sums up the whole feeling of the album in its hard aspects.

    Yet the album is listenable and likeable. With its own idiosyncrasies, the ups and downs, the easiness of the songs, the questionable catchiness and the at times washed-out aggression it is charming as long as you don’t take things to heart. The only oxymoron in the CD is the voice of Angela Gossow. Indeed, her vocals are aggressive enough as expected from her male peers in the genre and it goes as far that she has to outdo them in a competition. I’ve checked out some comments here and there and saw some sad and pathetic guys accusing her that her vocals aren’t aggressive enough. Does she have to please some men with limited horizons, who barely manage not to walk and not step on their own testicles (!) and who can’t move on from the fact that Johan left and she remained as the lead vocalist? The front women such as Poly Styrene (RIP) and Wendy O’Williams (RIP) till the modern ones didn’t give two flyin’ fucks what their fans should be expecting from them, and especially when it comes to a band that has the anarchy logos printed all over it, the subjugation to patriarchy is striking when it dresses in the form of equality. Is she afraid that by changing here and there her voice they might lose some customers?

  8. Grindcorefan says:

    Swedish bands like this do not play ‘Melodic Death Metal,’ I don’t give a fuck what any other music critic says. There is not the merest semblance of Death Metal about this music. No, this is modern Heavy Metal that just happens to have dirty vocals. With that out of the way, Arch Enemy’s new album: same old same old, but with far superior vocals to the previous releases; and much less interesting songs.

    This album features a lot of that ‘start – stop’ style that serves to piss me off no end. Better, more crushing riffs are traded off for weak, undecided chord progressions that were fortunately kept to a minimum on Arch Enemy’s previous (and to my ear, their best) work, Burning Bridges. Gone is the bombast of “Demonic Science” or “Angelclaw”; and worse still, Wages of Sin lacks the wonderful solos that used to define and elevate the band amongst and above their Swedish contemporaries (you know – shitty pop bands like In Flames). The solo on “Dead Inside” (track two on …Bridges) ranks up as one of the very best I have ever heard – not one of the solos present on Wages of Sin even come close. The song structures all seem very modern, and the general modus operandi the band spent their last three releases defining seems to have been lost, making me wonder if perhaps their ex-vocalist wasn’t more responsible for the songwriting than the credits let on…

    It’s not all bad – there are a couple of decent tracks on here – but it’s a big let down for those who’ve enjoyed the band in the past but don’t enjoy other Swedish bands of the same genre, since I’m sure all you ‘Melodic Death’ Metalheads will lap this up. At least the vocals are the best you’ll hear from a band of this kind for a very long while – Angela Gossow is a credit to her chosen style and female vocalists everywhere, and its a great shame her talents were wasted on this rather pitiable release that exudes a similar air to that of a retarded child lost in the snow – confused, weak, and oblivious to it’s plight. She needs to hook up with Children of Bodom; for there is a modern heavy Metal band crying out for a vocalist of her calibre.

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