The last time we spoke to Michael Amott and Angela Gossow, in April 2011, to talk about Khaos Legions (a long and rich interview which we still recommend to this day), we would never have thought that a tsunami would hit Arch Enemy three years later. Nothing in those interviews ever suggested the emblematic screamer would just up and leave. And yet, Amott now mentions “heralding signs”, “changes in her attitude” that “everybody in the band noticed”. Sometimes, when the passion is gone, change is the only solution left.

After all, change turned out to be a good thing for the band in the early 2000s. But the context is different: this time, Arch Enemy lost a face and a voice that everybody knew. Unruffled, and with the help of their now ex-frontwoman, the band has arranged a smooth, meticulously orchestrated transition. After keeping the news secret for months, they have finally revealed the name of their new voice: Alissa White-Gluz, of The Agonist fame, will step into Angela’s shoes on ten out of thirteen songs on Arch Enemy’s new album, War Eternal.

We talked to guitarist Michael Amott about this transfer of power, the replacement of his brother Christopher by Nick Cordie (the second big change on War Eternal, which makes the band’s leader surprisingly “happy”), and the album itself, from the artwork to the unusual orchestrations. Directly after that, you’ll find the complete transcript of the live interview vocalist Alissa White-Gluz gave us last April, which you can still listen to in the original Quebecois French.

After reading this complete debriefing, War Eternal will have no secrets for you.

Radio Metal : What was your reaction when Angela Gossow decided to leave the band? Was it a chock to you, given her importance in the band?

Michael Amott (guitar) : Of course it was a big deal when she finally announced that she wanted to step down as the singer of this band. But it wasn’t a big surprise actually, because we had seen the writings on the wall for quite some time with her. But of course, it left us in a difficult position. We’re Arch Enemy and now we had no singer. We were already writing a new album and planning for a new recording and a new tour and everything. It put us in a position where things, obviously, changed… [Laughs] It was definitely a big moment for us.

Angela’s reasons for leaving the band were that she wanted to move on, be with her family and pursue other interests. Did you notice a bit of weariness in her on the last tour?

Yes, I think that we all did. There’s nothing wrong with that, you know. But of course it had affected everybody. Everybody noticed it in the band. Even though she gave good live performances, we noticed a change in her attitude a little bit.

Was it clear in your mind that her successor had to be a woman again or would you have considered a male vocalist like at the beginning of the band?

[Thinking] We didn’t have time to think about anything, really. When Angela announced her departure from the band to us, it was a situation where she really urged us to carry on. She said: “You guys have so much music left in you, you’re already writing a new album, you love the band…” She wanted us to continue. We have so many wonderful fans around the world that she thought it was stupid to stop the band just because she quits. At the same time she also said that she had an idea about who could take over in the position of the front singer and recommended Alissa. So it was a lot happening at once! [Laughs] So we immediately started checking Alissa out, establishing contact with her and starting talking with her, because we really liked what we heard. When she came over to Sweden to work with us, it became clear very quickly that she was the right choice. So we didn’t really consider any other men or women actually.

Just like Angela, Alissa is involved in animal protection and is a vegan. Is this pure coincidence or did that actually come into play somehow?

I don’t know if it’s coincidence or not, but it didn’t affect our choice as far as getting her as a singer. We obviously looked for musical abilities first. But then it’s great that she shares some of the same views and opinions as the rest of us, of course. It makes it easier for us [chuckles].

« [Alissa] is a songwriter’s dream because there are not a lot that can’t do with her voice. »

This big change in the band’s line-up was kept secret for a very long time, since this happened before the recording of the album and that Alissa apparently participated in the writing process. Why keeping this secret for so long before announcing it?

We decided that this would be the best way, really, for Arch Enemy and also the most respectful way for the fans actually. Because, if you think about it, if we had announced that Angela had quit and then nothing for several months, I think that would have been very disturbing and unsettling for the fans. This way we could offer new music, a video, photographs, statements from everybody that we will consider well written… It just seemed like a perfect way to do it actually.

How did you actually succeed in keeping this a secret all these months, with no info leaking?

Yeah, I know, right?! [Laughs] It’s not easy nowadays. It just took some self discipline, I guess.

Was there an agreement with the band The Agonist from which Alissa came and who decided to go separate ways with her and hired a new singer too? Their announcement was made simultaneously with yours…

Oh yeah, well, they’re on the same record label, Century Media, so I guess that was controlled through the record label really. It was communications through Century Media Records.

Some have seen in the cover artwork a metaphor for the band: the central figure would be Angela holding Alissa, passing on the torch to her and giving her a new life, surrounded by the rest of the band…

[Big laugh] No, I haven’t thought about that! That’s crazy, but I love that! That’s the best interpretation so far. I think that you can read a lot in this very complex piece of artwork, but once you sit down, read the lyrics, listen to the music and look at the artwork, I think that there’s a logic that gets out of it. I’m very happy with it. You have the innocent baby symbolizing purity and symbolizing that the day you’re born into this world, you start dying, basically, so it’s in the hands of death. Death is the only escape, really, from these other four characters that are surrounding the baby and the scene that you see, which represents basically corporate greed. There are figures holding fire and death, which are like memento mori, very powerful symbols. “War Eternal”, the title track, is really about the fact that it’s so hard to hold on to your personality, to follow your heart and stay true to yourself, to remain an individual. It’s almost like everybody’s forcing you from the day you’re born into being a certain kind of person, choosing your path for you. It seems like individuality is not really something that is appreciated in schools and in society in general. And the room in the scene [of the artwork] is pretty cool too. Behind you have this almost like church window that’s got the Arch Enemy symbol, with a red glowing light that almost looks like a hellish red light but that could also be the fires of the apocalypse and the end of the world on the outside. And you have the walls that are painted with sort of inverted sort of church images or biblical images, or something like from Dante’s Inferno. It’s a very kind of nightmarish and interesting cover, I think.

Alissa’s vocals sound quite appropriate when listening to War Eternal and the fans won’t be disoriented. She even sounds a bit like Angela at times, with typical Arch Enemy vocal lines. Did you or Angela coach her? I know that Angela did some vocal coaching in the past…

No, Angela was not involved in the music at all with this album. Alissa wrote lyrics for five songs and I wrote lyrics for five other songs. And for the songs I wrote, I had some specific ideas about how I wanted the vocals and arrangements to sounds like, so we worked together on those. And I was there for the whole vocal recordings; I gave her my point of view. But I’m really happy with Alissa’s vocals on the album.

Alissa can do clean vocal and we can actually guess that she’s doing that as an arrangement in the chorus of “Avalanche”. But didn’t you want to take more advantage of this capacity? I know you already tried to include clean vocal with your brother Christopher on two songs from the album Anthems Of Rebellion…

Oh, well, yeah, that was a long time ago… Yes, that’s true. I mean, I know that Alissa can do a lot of things with her voice. She’s an incredible singer. She’s really a songwriter’s dream because there are not a lot that can’t do with her voice. There are a very broad range of voices that she can do. Arch Enemy has a sound which we want to stay true to. I think Alissa, most of all actually, was very adamant that we should stay true to Arch Enemy’s sound in this album. This is our ninth album, a very important one, a very important step in our career. We’re all very happy with what she did on the album. There are some hints here and there of cleaner singing; there are also moments like what she does in “As The Pages Burn” for instance, where she’s screaming in the chorus but kind of having notes in the screams. I love her singing on the album, she sounds great.

Do you think you will in the future take for advantage of her clean vocals?

It depends on the material, doesn’t it? I don’t know, I can’t really predict that. That wouldn’t surprise me, actually. But let’s see where the music goes next time.

One of the surprises musically of this album is the big orchestral arrangements and classical influences heard in “Time Is Back” and “Avalanche”. How did you end up with adding this orchestral dimension in your music?

I actually went to a party last summer and was introduced to a guy (note: Henrik Janson) who is one of the top orchestra arrangers; he’s a conductor and arranger in Sweden. He does a lot of stuff for the Swedish songwriters, mainstream stuff. He’s also worked with Britney Spears [laughs], all kinds of stuff, like the new album by Celine Dion, big productions. So we were introduced and I started talking to him, we exchanged our numbers and the next day he sent me a message saying that he watched the “Nemesis” video and thought it was incredible. He said: “We should do something together. What are you doing right now? Are you writing new music?” And I said: “Yes, in fact, we are.” So I brought some demos over to his house and my guitar. He sat by the piano and we worked out some parts and songs that would fit his additions. In the end, we actually recorded with a real orchestra in Stockholm. It was a very exciting process, for sure, and it was totally new for Arch Enemy.

And would you want to develop that at in the future, a little bit like Dimmu Borgir did at some point?

I don’t know. For me, Arch Enemy will always be guitar driven. The guitar is a big focus in Arch Enemy and I think that it should remain that way. But for sure this was a really great flavor to add to our music, on “Time Is Black”, “Avalanche” and also “You Will Know My Name”, as well as the intro, which are all the pieces of music that feature orchestral arrangements on this album. Maybe we will develop that in the future, I don’t really know. It’s hard to predict [chuckles]. I really like how it turned out though, I think it sounds very deep and emotional, and it adds a lot of texture for sure.

We can also hear classical influences in your guitar melodies. What’s your relationship with classical music?

Personally I grew up with classical music. My parents, and especially my mother, are classical music freaks, super fans of classical music. I guess that I grew up around it. I do like classical music. I like film music. I just like good music; I don’t really care what it is nowadays. It doesn’t have to be metal; it doesn’t have to be something heavy. As long as it’s good, then I’ll like it. But, yeah, for sure, classical music was part of my early life, of course, and I still enjoy it. Bach I guess is one of my favorites. I like Beethoven, Mozart… I like all the greats, you know [laughs]. It’s hard to deny that music, the body of work that they did. I got into a lot of Requiems, death masses. I’m not really expert but I just like to listen to classical music channel on the radio. I’m really open-minded about it.

Actually the last song on the album can make us think of a Requiem…

Yeah, actually, you mean the instrumental? This doom sort of track, I wanted to call it a Requiem something but it didn’t end up being called that. But yes, definitely, it’s got that atmosphere I think.

« Life can be a struggle if you want to remain an individual that has a strong personality and its own free will. I think that you have to fight for that a lot in life. That’s the eternal war. »

War Eternal also features another change in the band: it’s the first album that you didn’t record with your brother Christopher. You two formed a great guitar duo and seemed to be close to each other. Are you sad that he’s gone from the band for good this time?

No… I’m actually happy about it! [Laughs] Because, I think this relationship had to come to an end, really, creatively. Us creating music together was very much over. That relationship had grounded to a halt. So, for me, bringing in Nick and to work with him was just a breath of fresh air, something very positive, something very exciting, and I think you can hear that on War Eternal. Same for Chris: I think he’s much happier now as well. It’s a win-win situation.

Did you find a similar chemistry, musically speaking, with Nick Cordle?

Absolutely, yeah, we’ve had a lot of fun. He toured with us for the Chaos Legions album for about a year and we struck up a good relationship, a good guitar relationship. We had a lot fun playing together. We got to know each other and that really helped. I actually went over to his home in Virginia, in the US, in March last year, and we recorded some music together, and I came back home with five songs. It was very productive, with a lot of positive energy and creativity. It’s definitely a good relationship.

The album is called War Eternal. Is this a way to point out the hardship a band has to always face at some point? That it’s always about being combative and getting new victories?

I was talking about the cover artwork; it’s more about that, the fact that life can be a struggle if you want to remain an individual that has a strong personality and its own free will. I think that you have to fight for that a lot in life. That’s the eternal war. This is more of a personal album, it’s more of a personal title. It’s not about war in nations or about fighting with guns, it’s more of an internal war.

The album ends with the sound of an electrocardiogram. Is this a statement for the band, pointing out that it’s still alive?

Yes! [Laughs]

Despite some new elements, the music on War Eternal feels like classic Arch Enemy with a lot of typical melodies. Was it important for you, with this album, given the changes, to make a classic Arch Enemy album and not go too much overboard to reassure the fans?

Well, I don’t know, I think there are songs, for instance the first single video “War Eternal”, the title track, which is a very much a real Arch Enemy song. It’s got all the elements, all the trademarks that we’re famous for. But then there are a lot of songs on there that kind of goes to places where we’ve not been before, actually, so I have to disagree with you a little bit. The first song “Never Forgive, Never Forget” is the fastest song we’ve ever recorded. The last piece of music “Not Long For This World” is the slowest piece of music we’ve ever recorded. We have orchestral arrangements on four songs. We have Alissa adding a very different approach to a lot of the songs, with different kind of phrasings, different kind of rhythmic feelings. A song like “No More Regrets” as well, I don’t think we’ve ever written anything like that before. But it’s good if it feel like totally Arch Enemy. The friends that I have that have heard it say that it sounds totally like Arch Enemy but just with more of everything, more creative and more insane musically. So, that’s a good thing in my book. I think we did expand on things. There’s a song called “Time Is Black” which I think is our first real progressive song we’ve ever recorded. That songs is a little sort journey it itself, really, but musically and lyrically it goes to places that we’ve never been before. I’m really excited about the versatility, the fact that on the album there are different things going on, and at the same time sounding like Arch Enemy. That’s great; I think this is the perfect combination.

This album was completely self-produced, whereas on previous albums there was always an external producer working with you. Was this the time to be alone on the production, to have full control on it?

Yeah, we thought so. Because we had a whole year off, we did so much preproduction, so much preparing. We knew exactly what we wanted. So we didn’t really want to disturb that vision that we had with an outside producer. Sometimes it’s great to have that, you know, but this time we didn’t need it.

Alissa is from Canada and the rest of the band is in Sweden. How will you organize yourselves given the distance?

Nick actually is from America as well, so it’s three different places! [Laughs] It’s not a problem at all: we just fly people in where we need to work. Then we work very intensively every day for three weeks and then we part ways again. The core of the band, the base of the band, is still in Sweden, with me, Charlie and Daniel. We can always get together and work on things when needed. We’ll start rehearsals next month and end of May for the tour. We do that in Germany actually, we’re all going to fly to Germany to work there. It works out very well.

What is your state of mind right now, a few weeks before the album release? Do you have a little bit of apprehension or are you confident with how it will be received?

Our work is done now; I made and poured everything I had into this album. I think we all did. Everybody has worked so hard on this album. I’m very happy with it. I don’t want to change a thing. As a piece of work, I’m super happy with it. I think it’s one of the best Arch Enemy albums we’ve made. But, what can I do now? [Laughs] I don’t know! I know it’s a great album and that’s it. I can’t really say anything else, really. Whatever happens now is really out of my hands. We’re all more excited than anything else, really. We’re very much looking forward to going out and playing these shows now, to start the whole touring. That’s really what we want to do.

(About The Agonist) « I didn’t leave The Agonist by choice. When I told them I was also Arch Enemy’s singer now, and I was going to do the two bands, they weren’t very happy and they kicked me out. My relationship with them was severed when they took my own band from me »

Alissa, you’ve just been announced as Arch Enemy’s new vocalist, and the release of the new album is only a few weeks away. How do you feel? Are you anxious or confident?

Alissa White-Gluz (vocals): I’m a bit anxious, obviously, because I’m looking forward to playing live. We like the album we did, and we’re very confident in our music. I’m looking forward to June, so everyone can hear the new songs, because we really love them all.

You’ve already put out two songs, including one video, and there are many fan reactions on Internet. How do you perceive this feedback, and especially the comments that can’t help comparing you to Angela?

Honestly, I was compared to Angela even before I replaced her. Women in metal bands are not as common as you’d think, especially women with the kind of voice myself and Angela have. It’s not new for me to be compared to her, but it’s flattering. It’s very nice, because she’s one of my favorite vocalists. So it doesn’t bother me at all.

Has Angela influenced you the way she influenced many female vocalists with aggressive voices?

Yes, of course. I’ve been friends with Angela since 2007, I think, and she’s become a big sister to me. She’s helped me a lot through the years, she’s given me many tips on how to make tours more bearable or how to be on stage. Wages Of Sin was the first album I bought, when I was what, sixteen? I was a teenager, at any rate. When I heard Angela’s voice, I tried to do it myself. She drove me to sing that way.

Your arrival in the band was announced in March, but apparently you’ve been part of it for a lot longer than that. When exactly did you join the band?

It’s difficult to pinpoint a date. Angela has decided very gradually to stop being the band’s vocalist. It was the same thing for me: after Angela and Michael contacted me to tell me what was going on with the band, and that they were interested in working with me, we started collaborating step and step and we saw it was working very well. It was all very gradual too. We worked for months and months, we rehearsed the old songs. Together we wrote lyrics and ideas for the titles and the vocals, we recorded demos, we discussed the artwork, and the end product is War Eternal. We really worked hard, it was a slow but very positive process.

You’ve kept silent a long time regarding Angela’s departure and your arrival. Wasn’t it hard for you to contain your excitement for so long?

No, it wasn’t difficult, because Angela and everyone else in the band knew it was important. It was a rather intense change, and it was something we had to announce the right way. We didn’t just want to tell Arch Enemy’s fans and mine, who are very loyal: “Angela’s gone, now we’re with Alissa, bye”. We really wanted to give them music. We had to do it this way.

The Agonist also kept your departure a secret. Were the two statements synchronized?

Actually, I didn’t leave The Agonist by choice. When I told them I was also Arch Enemy’s singer now, and I was going to do the two bands, they weren’t very happy and they kicked me out. My relationship with them was severed when they took my own band from me, and I never talked to them after that. So I had no idea what was going on with them.

It doesn’t sound like it was very friendly…

The separation wasn’t ideal because I didn’t agree with the change. I wanted to do the two bands. I really gave my life for this band, I never wanted to let it go. But I guess they had other ideas, and they didn’t want to share their singer. All I could do was respect their decision. It was a four-against-one situation, so I couldn’t try to understand or convince the others. It’s their decision, I respect it and I wish them luck in the future. But the link is severed now, I have nothing to do with them, and I’m 1000% focused on Arch Enemy.

Have you heard the vocalist who’s going to replace you?

No, I know nothing about her.

Let’s go back to Arch Enemy. You just said you knew Angela before. How did you meet? Is it your commitment towards animal protection that drew you together?

No, it’s just a great coincidence that everyone in the band is so committed to animal and human rights. But it wasn’t that. Actually, Angela wrote to me when I was on tour in 2007. It was my first tour, and I don’t know how she knew that I needed her, but I did! (laughs) It’s rather difficult to go on tour, especially when you’re in a lesser-known band with no money. You have to sleep in the van, drive yourself to every show, take care of your own merch, and there’s no one at the show, or maybe just ten people… It was difficult, but that’s what we did. Angela sent me a letter just to tell me: “I think you’re very talented, I see many things for you. If you need help, you can always call me or write to me”. She was there when I needed someone, and that’s how our friendship started. She’s always been a bit like a coach to me.

Your voice fits Arch Enemy’s music really well. Is it something you had to work on a lot, or did it just happen naturally?

The process was rather natural. I didn’t want to simply imitate Angela, and do exactly what I thought she would do with the songs. I wanted to do something very Arch Enemy with regards to the style, but I especially wanted to do what was best for the songs. I had to adapt a little, of course, because it’s a new band, but… (pause) I didn’t think about it too much when I wrote the songs, actually. I simply wanted to write good songs. I never thought: “Is that too Angela, or not enough?” In the end, I think the album sounds really good, really Arch Enemy, because the same guys still make up the rest of the band. So yeah, we’re very proud of War Eternal.

« When I heard the songs I just thought: “Wow! These are Arch Enemy songs, and I’m going to write the lyrics. It’s crazy!” (laughs) »

Aside from your vocal lines, obviously, what was your involvement in this album?

When I started talking with Michael, there were no lyrics written. Five songs were ready musically, and one of them ended up as “War Eternal”. Michael presented them to me, told me that was basically the style and the direction they were taking, and when I heard them I just thought: “Wow! These are Arch Enemy songs, and I’m going to write the lyrics. It’s crazy!” (laughs) I was very surprised, even the demos sounded so cool. I wrote the lyrics for five songs, and Michael wrote the lyrics for the other five. We also talked a lot about the art inside the booklet. Visual art is something I really enjoy, and I dabble myself. Everybody was really involved, much more than just instrumentally. I wrote the lyrics by hand in the booklet. Daniel took care [of the intros], and he knows how to deal with computer orchestrations very well. We also had a real orchestra on four songs. Everybody was 100% involved, we made a lot of effort.

You also used your clean voice in The Agonist, but on this album, it can only be heard briefly in the chorus of “Avalanche”. Michael told us that the songs didn’t really require that type of voice, but were you tempted to use it anyway?

Yes and no. Michael’s riffs are so high class, it would be fun to sing on it. But I think Arch Enemy’s style is unique and powerful. The vocals bring all the aggressiveness and the power, and the guitars sing the melodies. I didn’t want to upset that balance, because it’s traditional in Arch Enemy and it fits the band. It’s not necessary to sing for the music to be catchy. I had a few ideas, but I didn’t want to use them too much because I thought it wasn’t necessary. Everyone in Arch Enemy loves clean vocals, so if we write a song that demands it, we’ll definitely use them. We’re not close-minded, it’s not like we want to scream all the time. If it’s good for a song to have clean vocals in the chorus, or something like that, we’ll definitely do it. But up until now, the way we wrote the songs, the melodies are the guitars’ responsibilities, and the power is in the voice. If I want to use my clean voice, I have a band here in Montreal with whom I sing clean 80% of the time. The band is composed of Canadian girls who’ve been part of rather famous metal bands. We play punk-rock music. We’ve just started it, we have a few songs written and we’ve made demos. I think it’s going to be a cool band for those who love my clean voice. I’ll still sing both ways, but now it will be in two different bands.

What’s the name of this band?

Actually, we have a name, but we’re not ready to announce it yet! (laughs) I’ll talk about it soon, but then again, we want to announce it when we have music to offer. So we’ll wait until we have a few demos ready, and then we’ll do a launch for everyone to hear them.

Since Angela will stay in the band’s entourage as their manager, and given that she introduced you to the band and that you know her well, have you thought about making a duet with her to symbolize the transition?

It’s a good idea, but I really think Angela made the decision to stop singing before she contacted me. It’s something she tried for months, maybe years, so I don’t think she wants to sing again. That’s why she chose somebody to replace her. It’s not something we’re planning to do at the moment.

Can you tell us about your commitment to animal protection?

I’ve been a vegan for fifteen years, and I was a vegetarian my whole life before that. My family has taught me how important it is to respect life, human or animal. I started working with several organizations; some of them are in Montreal, like Paws For Life, a rescue for cats and dogs, and some are a bit larger, like the World Wildlife Fund (WWF) or PETA. I’ve ben working with them to try and make things change in various areas. For example, we’ve developed initiatives against seal slaughter in Canada. I’ve also worked with Mercy For Animals, another North-American organization. They usually give me a lot of information regarding their actions. For example, if they’re planning an undercover evacuation in a farm and there’s something I can do to help, I definitely will. I love to do something where I don’t ask for money, because I know a lot of people have really good intentions and no funds. I’m a bit like that too, you know. I want to show people you can help without money. That’s why I love educational campaigns that give information and ideas on what you can do to help, without just giving money to someone who will do it in your place.

What does being a vegan imply on a daily basis, and more particularly when you’re on tour?

Being a vegan is not just about what you eat. Many people think you simply have to eat salad, but that’s not really it. It impacts everything you do in your life. You make sure not to buy products that have been tested on animals, like shampoo, toothpaste, nail varnish, hair dye… Absolutely nothing that contains stuff that came from or has been tested on animals. It also goes for clothes: you try to dress with stuff with no fur, suede, or leather. Also, and that’s a part of being a vegan that not everybody knows about, you try to do what’s best for the planet and for mankind. So you buy fair trade organic coffee, and you avoid buying palm oil, because it destroys the soil of the rainforest. It’s all about researching what you buy, what you wear, use, eat, or drink, in order to damage the planet as little as possible while you live. It’s not difficult, really, you just have to make a little effort, and at some point it becomes very natural. Even on tour, in Japan or somewhere I can’t communicate, it’s very easy to find vegan stuff to eat. It’s getting more and more common nowadays to find people who share this way of life.

You share Angela’s view on this subject. Do you also share her anarchist opinions?

Yes, I think I share a lot with her, and even with Michael. We have the same ideas in terms of politics. Being an anarchist might be less important for me than it is for Angela, but we share the same view. To me, the most important is animal rights and environment. If you destroy that, mankind will suffer, too. It’s something everyone should care about.

Last question: do you intend to move to Sweden, or will you stay in Quebec?

I really love Sweden, so I’ve thought about it. I’m trying to learn Swedish at the moment, which is difficult, because right now I have thoughts in Swedish, in French and in English all at once. I’m mixing everything up! I love the country, so it’s tempting. But I have my family, my friends, my flat and my cats in Montreal! (laughs) And anyway, musicians are always on tour, so you only spend a few weeks a year at home. Whether I live in Montreal or in Sweden, I won’t be there all the time anyway. So I think I’ll stay in Quebec for the moment, but in the near future I might consider moving to Europe.

Michael Amott’s Interview conducted by phone on April, 19th 2014 by Spaceman.
Transcription: Spaceman.

Alissa White-Gluz’s Interview conducted by phone on May, 1st 2014 by Spaceman and Animal.
Traduction: Le Phasme.

Introduction: Spaceman.

Arch Enemy official website : www.archenemy.net