Let’s get this out of the way now. Gossow is dating/screwing/whatever Michael Amott. Is this why she joined the band or a result of that? Either way it is of little consequence. What is significant is that the appearance of the Teutonic blonde in this band polarized its fanbase. The old school fans revered and missed Johan Liiva while the press they got from Angela garnered them an almost entirely new fanbase, perhaps undeservedly.

As it regards the new album, “Doomsday Machine” was very highly anticipated. Arch Enemy are, after all, on this year’s Ozzfest, and supporting a new album only made sense. The music is mostly killer with very little filler and the brothers Amott shred with abandon. Sharlee D’Angelo’s bass is competent and Daniel Erlandsson’s drumming fine, but the vocals have to be the album’s weakest point. Not counting the lyrics, that is.

Gossow’s voice has been processed -- that’s right, processed -- into something akin to Peter Tagtgren’s higher range and Chuck Schuldiner’s most recent vocal output. It’s easily her least annoying effort but her lyrics are still trite. No, not as trite as on AOR where she cried “You had one life, You had one chance, You blew it, And you knew it” (in “End of the Line”), but not that far off, either. Better than AOR, similar to WOS.

Notes: Christopher stayed at home this summer to focus on his studies. Yeah, right. He’s pissed at his brother and A.G. Also, Andy Sneap’s touch is masterful, as almost always, and the instrumental tracks are godly. It’ll almost make you forget they butchered Megadeth’s “Symphony of Destruction” just last year. If you do not focus on Angela’s voice, the music on “Doomsday Machine” is quite satisfying. If not, well....

Bottom line: if Jada Pinkett-Smith is wearing your shirt, how underground can your band be? Consider this Arch Enemy’s second groundbreaking ceremony, ladies and gentlemen.

written by Tony Belcher

Playing time: 49.11