Necrotica For a moment, I want you to check out the current lineup of Arch Enemy. Jeff Loomis, Michael Amott, Alissa White-Gluz… that trio alone should be worth the price of admission. And that’s also precisely why listening to 2017’s Will to Power was so disappointing: despite a few interesting experiments here and there (and the fact that 2014’s War Eternal was already mediocre), it was a shame to hear these incredibly talented musicians go through the motions for most of the record’s runtime. It’s even more sad when you consider each member’s respective pedigree, whether it be White-Gluz’s fantastic vocal work in The Agonist, Loomis’ run with Nevermore, or Amott’s work with Carcass (not to mention earlier Arch Enemy albums). But perhaps this complacency finally lit a fire under their asses, because the group’s new project Deceivers is quite the substantial leap in quality.

Now before you ask: no, this is not a stylistic reinvention by any means. Deceivers still uses the well-worn Arch Enemy formula: catchy twin guitar leads, anthemic choruses, vague lyrics about rebellion and loyalty… it’s all here in spades. But the difference lies in just how the band approach these stylistic hallmarks this time around. As soon as Loomis’ infectious lead guitar work kicks off opener “Handshake with Hell”, you can tell there’s a certain energy and conviction that wasn’t present on the group’s last few records; meanwhile, White-Gluz effortlessly switches between harsh and clean vocals at the drop of a hat. In fact, Deceivers has the best overall performance I’ve heard from her since her work with The Agonist; her aggressive vocals - which can range from relatively low growls to piercing screams - are a perfect fit for thrashy cuts like “Deceiver, Deceiver” and “The Watcher”. However, her greatest asset as a melodic death metal singer is still her versatility, which continues to place her above many of her peers. Her clean vocals are often just as effective as her harsh ones, as found in the epic power metal-esque scream that introduces “House of Mirrors” and the subdued spoken word bits of “One Last Time”.

As for the other musicians? They’ve stepped up their game a bit as well; however, Loomis is still quite underutilized. Anyone familiar with Nevermore knows that he can shred his ass off, whether in a lead or rhythm capacity. But it seems as though both he and Amott had to tone down their normal playing ability to fit the music itself; thus, we stuff like the boring harmonized intro of “House of Mirrors” or the exceptionally flat one-note riffage “In the Eye of the Storm”, the latter being a massive step down from the first two tracks. However, where Deceivers shines is in the little nuances that help it break from the band’s typical formula a bit. I’ve already talked about White-Gluz’s versatility, but it extends to some of the instrumental passages as well – one prime example is the lengthy intro to “Poisoned Arrow”. A lovely orchestral passage (actually played by two cellists!) gives way to a contemplative clean guitar section; it’s not the most original thing in the world, but it’s a nice way to build up tension and drama before the tune starts proper. Meanwhile, a quick spotlight is given to Sharlee D’Angelo in the small bass-centric intro to “Sunset Over the Empire”, a song that actually has some nice neoclassical touches in its arrangement. Finally, I’d like to highlight the closer “Exiled from Earth”, specifically how effectively it combines acoustic and electric guitars. The way both are melded together in the intro creates a vibe that’s equal parts apocalyptic and lamenting, making for quite the potent finale for the record.

With that said, most of Deceivers is business as usual for Arch Enemy. But then again, when hasn’t that been the case for their career? They’re like the melodic death metal equivalent to fast food: enjoyable and satisfying in the short term, but not doing much to elevate themselves beyond that. However, credit needs to be given where it’s due, and Deceivers is a surprisingly fun romp through the band’s familiar musical tropes. If you don’t enjoy Arch Enemy in the first place, this won’t do much for you; however, if you’re a fan who’s been waiting for a nice return to form after the last few releases, you’re in for a treat.