There is power in a name, as ancient wisdom claims. And sometimes a prophecy. It was a moment of rare foresight when guitarist Esa Holopainen came up with a name for his new band: Amorphis. Derived from "amorphous" (without determinate form, shapeless), the choice would subsequently prove more apt than anyone could have imagined at the time. It was the fall of 1990, and the band's two founding members, Esa and drummer Jan Rechberger, had recently joined forces with guitarist/vocalist Tomi Koivusaari and bassist Olli-Pekka "Oppu" Laine to leave their mark on the emerging Finnish death metal scene, only to transcend it by far and set their sights on new horizons before that scene even reached the surface of public awareness. From the outset, Amorphis were determined to follow no vision but their own. Asked a few months after the band's conception whether Amorphis would ever change style if some new trend came along, Esa answered: "We'll change our style only if we manage to create something ourselves." A programmatic statement for a band that would go on to reinvent itself with every new album, continuously challenge listeners to forget all their preconceptions about music, and, through all ups and downs, never bow to compromise.

 

In August 2007, the band released its eighth album. Silent Waters draws again on the Kalevala for inspiration, recounting the tale of Lemmink�inen's hunt for the Swan of Tuonela. Unlike earlier Amorphis records, which often differed radically from one to the next, Eclipse and Silent Waters mostly share same musical ingredients. Nevertheless each of the two has a distinct atmosphere of its own, gracefully captured in the outstanding cover artwork by renowned US artist Travis Smith. Both went gold in Finland, a feat not yet accomplished by any Amorphis album of the pre-Tomi Joutsen era, and won the band a host of new fans around the globe. The remainder of 2007 was spent on the road in northern and central Europe as well as Russia and Japan, and touring continues throughout 2008. With their strongest line-up ever, Amorphis are ready to conquer ever new ground - never confining their style to any definite shape, yet always instantly recognizable, always true to their own vision, and always unique.

Time passes, the world changes, but some things remain constant and unassailable. Heavy metal has endured for
more than four decades because its spirit is eternal, and few bands embody the intensity, integrity and lofty
artistic ambitions of the genre with more dazzling aplomb than Arch Enemy. Formed in Sweden in the mid-90s by
former Carcass/Carnage guitarist Michael Amott, this most explosive and proficient of modern metal bands have
spent the last 20 years propagating an unerring creed of technical excellence, songwriting genius and thunderous,
irresistible live performance, accruing a huge global fan base along the way. And now, in 2017, Arch Enemy are
ready to rise again and climb ever further up the ladder toward pure metal supremacy.

“The band's core musical philosophy hasn't changed much since I started the band,” says Amott. “It's still about
creating intense heavy metal with extreme vocals and a lot of melody in the guitars. We've always loved writing
and meticulously crafting the best songs possible, that's the main motivation for us.”

When Arch Enemy released their debut album Black Earth in 1996, death metal was stagnating and in desperate
need of a kick up the ass. Amott’s blueprint for the purest of metal strains proved an instant underground hit, both
in Europe and Japan, and almost single-handedly resurrected death metal as a viable art form with mainstream
potential. Signed to Century Media Records for 1998’s sophomore effort Stigmata, Arch Enemy marched
purposefully towards a new millennium with a rapidly growing reputation. 1999’s Burning Bridges added to the
band’s momentum, their razor-sharp blend of brutality and epic melody becoming more refined with each creative
step. But it was in 2001, when original vocalist Johan Liiva stood aside and mercurial frontwoman Angela Gossow
stepped in, that Arch Enemy truly took off.

Released in 2001 in Japan and nearly a year later in Europe, Wages Of Sin showcased a revitalised line-up and
newfound gift for immortal anthems, Gossow’s feral roar adding many layers of charisma and power to Arch
Enemy’s already monstrous sound. Swiftly dedicating themselves to a relentless touring schedule, the band’s
upward trajectory continued throughout the first decade of the 21st century, with each successive album
enhancing the band’s reputation and bringing legions of new fans to this resolute heavy metal campaign. Albums
like 2003’s vicious Anthems Of Rebellion and 2011’s pitch-black and savage Khaos Legions ensured that Amott and
his loyal henchmen – Gossow, drummer Daniel Erlandsson, bassist Sharlee D’Angelo and Michael’s guitarist sibling
Christopher - remained firmly at the top of the extreme metal tree: respected veterans at the height of their
powers.

“Surviving and thriving in the metal scene is not always easy,” Amott admits. “
Contrary to what I've seen a lot of people say, I feel the scene is actually quite trend driven and it's impossible to
be at the peak of your popularity all the time. In the past two decades we've seen a lot of trends and bands come
and go. What I've always believed to be important is to stay true to yourself and the reasons why you started. Why
you love music must always be at the forefront. I'm pretty good at keeping the 15-year-old Michael Amott alive in my heart!”

Always focused but impervious to other’s rules and expectations, Arch Enemy evolved once more in 2015 following
the departure of Angela Gossow (now the band’s manager). Replacing one of the most iconic vocalists of the
modern age was never going to be easy, but in the shape of former The Agonist frontwoman Alissa White-Gluz, Arch
Enemy found the perfect candidate. Unveiled on the ferocious, anthem-laden triumph of 2014’s War Eternal,
Alissa’s powerful identity and extraordinary vocal talents proved a natural and instantly welcomed fit. Further
extensive touring cemented the new line-up’s thrilling efficacy, before one final line-up change – the arrival of
legendary guitarist Jeff Loomis, formerly of Nevermore – completed the musical puzzle that Amott had been
tinkering with for the best part of 20 years.