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Public domain
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Intellectual property and Intellectual rights law
Primary rights
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Geographical indication
Sui generis rights
Authors' rights
Database right
Indigenous intellectual property
Industrial design right
Integrated circuit layout design protection
Moral rights
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Related rights
Supplementary protection certificate
Utility model
Related topics
Abandonware
Anti-copyright
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Limitations and exceptions to copyright
Fair dealing
Fair use
Right to quote
Orphan works
Public domain
Societal views
Outline of intellectual property
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The legal term public domain refers to works whose exclusive intellectual property rights have expired,[1] have been forfeited,[2] have been expressly waived, or are inapplicable.[3] For example, the works of Shakespeare and Beethoven, and most early silent films are in the public domain either by virtue of their having been created before copyright existed, or by their copyright term having expired.[1] Some works are not covered by copyright, and are therefore in the public domain—among them the formulae of Newtonian physics, cooking recipes,[4] and all computer software created prior to 1974.[5] Other works are actively dedicated by their authors to the public domain (see waiver); some examples include reference implementations of cryptographic algorithms,[6][7][8] the image-processing software ImageJ,[9] created by the National Institutes of Health, and the CIA's World Factbook.[10] The term public domain is not normally applied to situations where the creator of a work retains residual rights, in which case use of the work is referred to as "under license" or "with permission".
As rights vary by country and jurisdiction, a work may be subject to rights in one country and be in the public domain in another. Some rights depend on registrations on a country-by-country basis, and the absence of registration in a particular country, if required, gives rise to public-domain status for a work in that country. The term public domain may also be interchangeably used with other imprecise and/or undefined terms such as the "public sphere" or "commons", including concepts such as the "commons of the mind", the "intellectual commons", and the "information commons".[11]
Contents
[hide]
1 History
2 Definition
3 Public domain by medium
3.1 Public-domain books
3.2 Public-domain music
3.3 Public-domain films
4 Value
5 Relationship with derivative works
6 Perpetual copyright
7 Public domain mark
8 Application to copyrightable works
8.1 Works not covered by copyright law
8.2 Expiry of copyright
8.3 Government works
8.4 Dedicating works to the public domain
8.4.1 Release without copyright notice
8.4.2 Public domain like licenses
9 Patents
10 Trademarks
11 Public Domain Day
12 See also
13 References
14 External links
History[edit]
Although the term "domain" did not come into use until the mid-18th century, the concept "can be traced back to the ancient Roman Law, as a preset system included in the property right system."[12] The Romans had a large proprietary rights system where they defined "many things that cannot be privately owned"[12] as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as things not yet appropriated.[13] The term res communes was defined as "things that could be commonly enjoyed by mankind, such as air, sunlight and ocean."[12] The term res publicae referred to things that were shared by all citizens, and the term res universitatis meant things that were owned by the municipalities of Rome.[12] When looking at it from a historical perspective, one could say the construction of the idea of "public domain" sprouted from the concepts of res communes, res publicae, and res universitatis in early Roman law.[12]
When the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by British and French jurists in the 18th century. Instead of "" they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law.[14]
The phrase "fall in the public domain" can be traced to mid-19th century France to describe the end of copyright term. The French poet Alfred de Vigny equated the expiration of copyright with a work falling "into the sink hole of public domain"[15] and if the public domain receives any attention from intellectual property lawyers it is still treated as little more than that which is left when intellectual property rights, such as copyright, patents, and, expire or are abandoned.[11] In this historical context Paul Torremans describes copyright as a, "little coral reef of private right jutting up from the ocean of the public domain."[16] Copyright law differs by country, and the American legal scholar Pamela Samuelson has described the public domain as being "different sizes at different times in different countries".[17]
Definition[edit]
Newton's own copy of his Principia, with hand-written corrections for the second edition
Definitions of the boundaries of the public domain in relation to copyright, or intellectual property more generally, regard the public domain as a negative space; that is, it consists of works that are no longer in copyright term or were never protected by copyright law.[18] According to James Boyle this definition underlines common usage of the term public domain and equates the public domain to public property and works in copyright to private property. However, the usage of the term public domain can be more granular, including for example uses of works in copyright permitted by copyright exceptions. Such a definition regards work in copyright as private property subject to fair-use rights and limitation on ownership.[1] A conceptual definition comes from Lange, who focused on what the public domain should be: "it should be a place of sanctuary for individual creative expression, a sanctuary conferring affirmative protection against the forces of private appropriation that threatened such expression".[18] Patterson and Lindberg described the public domain not as a "territory", but rather as a concept: "[T]here are certain materials – the air we breathe, sunlight, rain, space, life, creations, thoughts, feelings, ideas, words, numbers – not subject to private ownership. The materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival."[19] The term public domain may also be interchangeably used with other imprecise and/or undefined terms such as the "public sphere" or "commons", including concepts such as the "commons of the mind", the "intellectual commons", and the "information commons".[11]
Public domain by medium[edit]
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Public-domain books[edit]
A public-domain book is a book with no copyright, a book that was created without a license, or a book where its copyrights expired[20] or have been forfeited.[21] Every book and tale written prior to 1923 (or 1947 in some countries) is in the public domain, among them every book written by Jane Austen, Lewis Carroll, Edgar Allan Poe, and H. G. Wells.[citation needed]
Public-domain music[edit]
Main article: Public domain music
Music has been created and played by humans for millennia. An object identified as a possible flute (the Divje Babe Flute) is more than 40,000 years old. Even if humans had musical instruments and made music there was a need for a musical notation system to be able to preserve song through writing. The first such system, the Music of Mesopotamia notation system, was created 4000 years ago. In the 10th century Guido of Arezzo introduced Latin musical notations.[citation needed] All this laid the foundation for the preservation of global music belonging to the public domain since the beginning of musical history to the present.
The Musopen project records music in the public domain for the purposes of making the music available to the general public in a high-quality audio format. Online musical archives preserve collections of classical music recorded by Museopen and offer them for download/distribution as a public service.
Play media
Rock, Rock, Rock, a film from 1956.
Public-domain films[edit]
Main article: Public domain film
A public-domain film is a film that was released to public domain by its author or because its copyright has expired. In 2016 there are more than 2,000 films on public domain in every genre, from musicals to romance, horror to animated movies and noir to western movies.[citation needed]
Value[edit]
Pamela Samuelson has identified eight "values" that can arise from information and works in the public domain.[22]:22
Possible values include:
Building blocks for the creation of new knowledge, examples include data, facts, ideas, theories, and scientific principle.
Access to cultural heritage through information resources such as ancient Greek texts and Mozart's symphonies.
Promoting education, through the spread of information, ideas, and scientific principles.
Enabling follow-on innovation, through for example expired patents and copyright.
Enabling low cost access to information without the need to locate the owner or negotiate rights clearance and pay royalties, through for example expired copyrighted works or patents, and non-original data compilation.[23]
Promoting public health and safety, through information and scientific principles.
Promoting the democratic process and values, through news, laws, regulation, and judicial opinion.
Enabling competitive imitation, through for example expired patents and copyright, or publicly disclosed technologies that do not qualify for patent protection.[22]:22
Relationship with derivative works[edit]
Main article: Derivative work
L.H.O.O.Q. (1919). Derivative work by the Dadaist Marcel Duchamp based on the Mona Lisa.
Derivative works include translations, musical arrangements, and dramatizations of a work, as well as other forms of transformation or adaptation.[24] Copyrighted works may not be used for derivative works without permission from the copyright owner,[25] while public domain works can be freely used for derivative works without permission.[26][27] Artworks that are public domain may also be reproduced photographically or artistically or used as the basis of new, interpretive works.[28] Works derived from public domain works can be copyrighted.[29]
Once works enter into the public domain, derivative works such as adaptations in book and film may increase noticeably, as happened with Frances Hodgson Burnett's novel The Secret Garden, which became public domain in 1987.[30] By 1999, the plays of Shakespeare, all public domain, had been used in more than 420 feature-length films.[31] In addition to straightforward adaptation, they have been used as the launching point for transformative retellings such as Tom Stoppard's Rosencrantz and Guildenstern Are Dead and Troma Entertainment's Romeo and Juliet.[32][33][34] Marcel Duchamp's L.H.O.O.Q. is a derivative of Leonardo da Vinci's Mona Lisa, one of thousands of derivative works based on the public domain painting.[26]
Perpetual copyright[edit]
Main article: Perpetual copyright
Some works may never fully lapse into the public domain. A perpetual crown copyright is held for the Authorized King James Version of the Bible in the UK.[35]
While the copyright of the Peter Pan works by J. M. Barrie (the play Peter Pan, or the Boy Who Wouldn't Grow Up and the novel Peter and Wendy) has expired in the United Kingdom, it was granted a special exception under the Copyright, Designs, and Patents Act 1988 (Schedule 6)[36] that requires royalties to be paid for commercial performances, publications and broadcasts of the story of Peter Pan within the UK, as long as Great Ormond Street Hospital (to whom Barrie gave the copyright) continues to exist.
Public domain mark[edit]
Creative Commons' Public Domain Mark
The Creative Commons proposed in 2010 the Public Domain Mark (PDM) as symbol to indicate that a work is free of known copyright restrictions and therefore in the public domain.[37][38] The public domain mark is analogous to the copyright symbol, which acts as copyright notice. The Europeana databases use it, and for instance on the Wikimedia Commons in February 2016 2.9 million works (~10% of all works) are listed as PDM.[39]
Application to copyrightable works[edit]
Works not covered by copyright law[edit]
The underlying idea that is expressed or manifested in the creation of a work generally cannot be the subject of copyright law (see idea–expression divide). Mathematical formulae will therefore generally form part of the public domain, to the extent that their expression in the form of software is not covered by copyright.
Works created before the existence of copyright and patent laws also form part of the public domain. For example, the Bible and the inventions of Archimedes are in the public domain, but copyright may exist in translations, or new formulations, or digitized editions of these works, so for example most translations of the Bible into foreign languages and the digital editions of these are copyrighted.
Expiry of copyright[edit]
Determination of whether a copyright has expired depends on an examination of the copyright in its source country.
In the United States, determining whether a work has entered the public domain or is still under copyright can be quite complex, primarily because copyright terms have been extended multiple times and in different ways—shifting over the course of the 20th century from a fixed-term based on first publication, with a possible renewal term, to a term extending to 50, then 70, years after the death of the author. The claim that "pre-1923 works are in the public domain" is correct only for published works; unpublished works are under federal copyright for at least the life of the author plus 70 years.
In most other countries that are signatories to the Berne Convention, copyright term is based on the life of the author, and extends to 50 or 70 years beyond the death of the author. (See List of countries' copyright lengths.)
Legal traditions differ on whether a work in the public domain can have its copyright restored. In the European Union, the Copyright Duration Directive was applied retroactively, restoring and extending the terms of copyright on material previously in the public domain. Term extensions by the U.S. and Australia generally have not removed works from the public domain, but rather delayed the addition of works to it. However, the United States moved away from that tradition with the Uruguay Round Agreements Act, which removed from the public domain many foreign-sourced works that had previously not been in copyright in the US for failure to comply with US-based formalities requirements. Consequently, in the US, foreign-sourced works and US-sourced works are now treated differently, with foreign-sourced works remaining under copyright regardless of compliance with formalities, while domestically-sourced works may be in the public domain if they failed to comply with then-existing formalities requirements—a situation described as odd by some scholars, and unfair by some US-based rightsholders.[40]
Government works[edit]
Works of the United States Government and various other governments are excluded from copyright law and may therefore be considered to be in the public domain in their respective countries.[41] They may also be in the public domain in other countries as well. The legal scholar Melville Nimmer has written that "it is axiomatic that material in the public domain is not protected by copyright, even when incorporated into a copyrighted work".[42]
Dedicating works to the public domain[edit]
Release without copyright notice[edit]
Before 1988 in the US, works could be easily given into the public domain by just releasing it without an explicit Copyright notice. With the Berne Convention Implementation Act of 1988 (and the earlier Copyright Act of 1976, which went into effect in 1978), all works were by default copyright protected and needed to be actively given into public domain by a waiver statement/anti-copyright can call notice.[43][44] Not all legal systems have processes for reliably donating works to the public domain, e.g. civil law of continental Europe.[citation needed] This may even "effectively prohibit any attempt by copyright owners to surrender rights automatically conferred by law, particularly moral rights".[45]
Public domain like licenses[edit]
Main article: Public domain equivalent license
An alternative is for copyright holders to issue a licence which irrevocably grants as many rights as possible to the general public. Real public domain makes licenses unnecessary, as no owner/author is required to grant permission ("Permission culture"). There are multiple licenses which aim to release works into the public domain. In 2000 the WTFPL was released as a public domain like software license.[46] In 2009 the Creative commons released the CC0, which was created for compatibility with law domains which have no concept of dedicating into public domain. This is achieved by a public domain waiver statement and a fall-back all-permissive license, in case the waiver is not possible.[47][48] The Unlicense, published around 2010, has a focus on an Anti-copyright message. The Unlicense offers a public domain waiver text with a fall-back public domain-like license inspired by permissive licenses but without attribution.[49][50]
In October 2014 the Open Knowledge Foundation recommends the Creative Commons CC0 license to dedicate content to the public domain,[51][52] and the Open Data Commons Public Domain Dedication and License (PDDL) for data.[53]
Patents[edit]
Main article: Term of patent
In most countries the term of rights for patents is 20 years, after which the invention becomes part of the public domain. In the United States, the contents of patents are considered valid and enforceable for 20 years from the date of filing within the United States or 20 years from the earliest date of filing if under 35 USC 120, 121, or 365(c).[54] However, the text and any illustration within a patent, provided the illustrations are essentially line drawings and do not in any substantive way reflect the "personality" of the person drawing them, are not subject to copyright protection.[55] This is separate from the patent rights just mentioned.
Trademarks[edit]
A trademark registration may remain in force indefinitely, or expire without specific regard to its age. For a trademark registration to remain valid, the owner must continue to use it. In some circumstances, such as disuse, failure to assert trademark rights, or common usage by the public without regard for its intended use, it could become generic, and therefore part of the public domain.
Because trademarks are registered with governments, some countries or trademark registries may recognize a mark, while others may have determined that it is generic and not allowable as a trademark in that registry. For example, the drug "acetylsalicylic acid" (2-acetoxybenzoic acid) is better known as aspirin in the United States—a generic term. In Canada, however, "Aspirin", with an uppercase A, is still a trademark of the German company Bayer, while aspirin, with a lowercase "a", is not. Bayer lost the trademark in the United States, the UK and France after World War I, as part of the Treaty of Versailles. So many copycat products entered the marketplace during the war that it was deemed generic just three years later.[56]
Bayer also lost the trademark in the same jurisdictions for "Heroin" which it trademarked a year before it trademarked Aspirin.[citation needed]
Although Hormel resigned itself to genericide,[57] it has fought attempts by other companies to register "spam" as a trademark in relation to computer products.[58]
Public Domain Day[edit]
Main article: Public Domain Day
An English logo of the 2015/2016 Public Domain Day in Poland
Public Domain Day is an observance of when copyrights expire and works enter into the public domain.[59] This legal transition of copyright works into the public domain usually happens every year on 1 January based on the individual copyright laws of each country.[59]
The observance of a "Public Domain Day" was initially informal; the earliest known mention was in 2004 by Wallace McLean (a Canadian public domain activist),[60] with support for the idea echoed by Lawrence Lessig.[61] As of 1 January 2010[update] a Public Domain Day website lists the authors whose works are entering the public domain.[62] There are activities in countries around the world by various organizations all under the banner Public Domain Day.
See also[edit]
Berne Convention
Center for the Study of the Public Domain
Copyfraud
Copyleft
Copyright status of work by the U.S. government
Copyright Term Extension Act
Creative Commons
Eldred v. Ashcroft
Fair dealing
Free software
Freedom of panorama
Internet Archive
Limitations and exceptions to copyright
List of countries' copyright length
List of films in the public domain in the United States
Millar v Taylor
Orphan works
Public Domain Day
Public Domain Enhancement Act
Public domain film
Public domain image resources
Public domain in the United States
Public domain music
Public domain software
Rule of the shorter term
References[edit]
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External links[edit]
Look up public domain in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Public domain (copyright).
Internet Archive
RetroFilm Vault Public Domain Movies Archive
Public Domain Review
Center for the Study of the Public Domain, Duke University
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Arch Enemy
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
This article is about the band. For the term, see Archenemy. For other uses, see Archenemy (disambiguation).
It has been suggested that this article be merged with List of Arch Enemy members. (Discuss) Proposed since February 2018.
Arch Enemy
Arch Enemy in 2016
(from left to right: Sharlee D'Angelo, Michael Amott, Alissa White-Gluz, Jeff Loomis, and Daniel Erlandsson).
Background information
Origin
Halmstad, Sweden
Genres
Melodic death metal
Years active
1996−present
Labels
Century Media
Wrong Again
Associated acts
Armageddon
Carnage
Carcass
Spiritual Beggars
Sanctuary
Website
www.archenemy.net
Members
Michael Amott
Daniel Erlandsson
Sharlee D'Angelo
Alissa White-Gluz
Jeff Loomis
Past members
Johan Liiva
Nick Cordle
Angela Gossow
Christopher Amott
Fredrik Åkesson
Martin Bengtsson
Peter Wildoer
Arch Enemy is a Swedish melodic death metal band, originally a supergroup, from Halmstad, formed in 1995. Its members were in bands such as Carcass, Armageddon, Carnage, Mercyful Fate, Spiritual Beggars, Nevermore, and Eucharist. It was founded by Carcass guitarist Michael Amott along with Johan Liiva, who were both originally from the influential death metal band Carnage. The band has released ten studio albums, three live albums, three video albums and four EPs. The band was originally fronted by Johan Liiva, who was replaced by German Angela Gossow as lead vocalist in 2000. Gossow left the band in March 2014 and was replaced by Canadian Singer Alissa White-Gluz, while remaining as the group's manager.
Contents
1 History
1.1 Early years and Black Earth (1995–1997)
1.2 Stigmata, Burning Bridges, and Gossow (1998–2000)
1.3 Wages of Sin and Anthems of Rebellion (2001–2004)
1.4 Doomsday Machine (2005–2006)
1.5 Rise of the Tyrant (2007–2008)
1.6 The Root of All Evil (2009–2010)
1.7 Khaos Legions and Christopher's second departure (2011–2013)
1.8 Gossow's departure and War Eternal (2014−2015)
1.9 New project Black Earth, Will to Power and next album (2016−present)
2 Musical style
3 Band members
4 Discography
5 References
6 External links
History[edit]
Early years and Black Earth (1995–1997)[edit]
Arch Enemy, the brainchild of Michael Amott (Carcass, Carnage, and Spiritual Beggars), was originally assembled when Amott left Carcass. He and his younger brother Christopher (Armageddon) joined with vocalist Johan Liiva (ex-Carnage, Furbowl, Devourment) and then-session drummer Daniel Erlandsson (Eucharist).
The band's debut, entitled Black Earth, was recorded in Studio Fredman and released by the now defunct Wrong Again Records in 1996. It obtained a fair amount of success in Japan, achieving MTV rotation with their first single "Bury Me an Angel", as well as moderate success in Sweden. Many consider it to be the band's most aggressive album, a trait that was softened to some degree on its following releases, but never abandoned.[citation needed]
Stigmata, Burning Bridges, and Gossow (1998–2000)[edit]
Arch Enemy drummer Daniel Erlandsson
After the release of Black Earth the band switched labels, signing a contract with Century Media. In 1998 Arch Enemy released Stigmata, for which bassist Martin Bengtsson and drummer Peter Wildoer joined the band. The album caught the attention of a wider audience, gaining popularity in both Europe and America. This was also the first Arch Enemy album to be released worldwide.
In 1999, Sharlee D'Angelo assumed the role of Arch Enemy's bassist, and Daniel Erlandsson was once again recruited to handle drum duties, this time on a permanent basis. Burning Bridges was released, and was soon followed by the live album Burning Japan Live 1999, which was initially a release limited to Japan, but later given worldwide distribution due to strong demand.[citation needed] During the touring-cycle for Burning Bridges, D'Angelo was temporarily replaced twice; first by Dick Lövgren (Meshuggah, ex-Armageddon) and then by Roger Nilsson (ex-Spiritual Beggars, Firebird, The Quill).
In November 2000, vocalist Johan Liiva parted ways. Liiva was soon replaced by German death metal vocalist Angela Gossow.
Wages of Sin and Anthems of Rebellion (2001–2004)[edit]
The first album with songs featuring Gossow was Wages of Sin, released in 2001. This is also the first album where the band used C tuning, which they have kept until the present.[citation needed] In December of the same year, Arch Enemy took part in the "Japan's Beast Feast 2002" concert, playing alongside Slayer and Motörhead.
Anthems of Rebellion was released in 2003 and brought some innovations, such as the use of a second voice singing in harmony; such as in the "End of the Line" and "Dehumanization" tracks. In November of the following year, the band released the EP Dead Eyes See No Future, which featured live recordings, along with covers of Manowar, Megadeth and Carcass songs. In June 2004, the band embarked upon yet another Japan tour.[1]
Doomsday Machine (2005–2006)[edit]
In June 2005, Arch Enemy finished the recording for their sixth album, Doomsday Machine. In July 2005, guitarist Christopher Amott left the band in order to focus on his personal life. He was temporarily replaced by guitarist Gus G. (Ozzy Osbourne, Firewind) and then by Fredrik Åkesson in September 2005. Christopher returned on a permanent basis in March 2007, shortly before the band entered the studio to begin recording their new album with producer Fredrik Nordström (who had previously worked with the band on their first four albums).[2] Åkesson went on to become Opeth's new lead guitarist in May 2007.
Rise of the Tyrant (2007–2008)[edit]
Arch Enemy performing live at Norway Rock Festival in 2009
Arch Enemy's seventh album, entitled Rise of the Tyrant was released on 24 September 2007 in Europe and 25 September 2007 in the United States. Rise of the Tyrant debuted at number 84 on the Billboard 200 chart. This surpassed the Doomsday Machine chart entry, making it the band's highest charting effort to date. Gossow said the new album has more emotion and less double vocals, as well as less vocal processing, yielding a more "raw" presentation.[3]
Arch Enemy played the Bloodstock Open Air Festival in August 2007, between Sabbat and In Flames.[4] They then performed on the Black Crusade tour at the end of 2007 with Machine Head, Trivium, DragonForce and Shadows Fall. With this, as Michael Amott reported on the band's website, "These will be the first European shows we do with Arch Enemy after the release of our new album".[citation needed]
On 8 March 2008 Arch Enemy filmed a live show in Tokyo, Japan for the live DVD Tyrants of the Rising Sun.[5] Arch Enemy also co-headlined the "Defenders of the Faith" tour in April 2008 with Opeth, while DevilDriver and 3 Inches of Blood opened for them. They then headlined the "Tyranny and Bloodshred" tour in May 2008 with Dark Tranquillity, Divine Heresy, and Firewind as supporting acts.
The Root of All Evil (2009–2010)[edit]
A compilation album titled The Root of All Evil was released on 28 September 2009 in Europe, 30 September in Japan, and 6 October in the United States.[6] The Root of All Evil features twelve re-recorded songs spanning the band's career before Gossow joined as vocalist, with some material pre-dating D'Angelo as their bassist.[7][8] In the first half of 2009, the band toured Europe and South America, and then played at the annual "Dubai Desert Rock Festival" alongside Opeth, Chimaira, and Motörhead.[9][10][11] Following the release of The Root of All Evil on 28 September 2009, the band embarked on an Asian and Australian tour, which included their first visit to New Zealand. The tour started at the "Loud Park festival" in Japan on 17 October supplementing other acts including Megadeth, Judas Priest, Slayer, Anthrax, Rob Zombie and Children of Bodom. They also toured in South Korea on 25 October headlining at the Melon AX Hall in Seoul.
Khaos Legions and Christopher's second departure (2011–2013)[edit]
Arch Enemy performing live at Metaltown Festival 2011
According to a September 2010 interview with Angela Gossow, Arch Enemy entered the studio on 1 December to begin recording their eighth album, Khaos Legions, for a release in June 2011, according to the band's website.[12] The first single from the album was released on the Century Media website on 31 March entitled "Yesterday is Dead and Gone". The album was released on 31 May 2011. On 12 December the band announced that they would be filming a show in Cologne the following day for an upcoming live DVD entitled "World Khaos Tour".[13]
On 3 March 2012 it was announced on the band's Facebook page that Christopher Amott had once again departed from the band. He was replaced by Nick Cordle from Arsis.[14] Arch Enemy released their third music video from Khaos Legions on 25 April 2012 for "Under Black Flags We March". Not only does Nick Cordle appear in the video, he also recorded a new guitar solo, making this his debut track with the band.
Gossow's departure and War Eternal (2014−2015)[edit]
On 3 March 2014 the band revealed their tenth album would be titled War Eternal, released in June 2014.
On 17 March 2014, Gossow released a statement announcing her departure from the group and welcoming her replacement, former vocalist of Canadian extreme metal band The Agonist, Alissa White-Gluz. In the statement, she wrote that while she had enjoyed her time with the group, it was time for her to move on, be with her family and pursue other interests. Gossow did confirm that she would remain Arch Enemy's business manager, and would be "passing the torch to the super talented Alissa White-Gluz, whom I’ve known as a dear friend and a superb vocalist for many years. I always thought she deserved a chance to shine – and now she’s getting it. Just like I got that chance back in 2001."[15]
White-Gluz also released a statement saying: "I am very honored and happy to announce a new chapter in my life and musical career. Wages of Sin was the first metal album I ever bought, and it was love at first listen. It is not often that you get a phone call from your favorite band asking you to join! I am thrilled to have the opportunity to work with such amazingly talented musicians whom I also consider great friends. I look forward to being able to write and perform at a whole new level now with Arch Enemy! Music is forever, metal is limitless and this is only the beginning!"[15]
During Arch Enemy's North American tour in support of their album War Eternal, guitarist Nick Cordle left the band on 10 November 2014. Specifically, he left the stage with only a few songs remaining in the set during the show at San Francisco's Regency Ballroom. Christopher Amott temporarily re-joined the band for the remainder of the tour, while famed guitarist Jeff Loomis (formerly of Nevermore) was announced as the official replacement and joined the band for their European tour with Kreator and subsequent events.[16]
New project Black Earth, Will to Power and next album (2016−present)[edit]
Arch Enemy live at Wacken Open Air in 2018
Arch Enemy live at Summer Breeze Open Air in 2016
On 22 January 2016, the founding members of Arch Enemy formed a side project named Black Earth. Consisting of former members Liiva and Christopher Amott, and current members Daniel Erlandsson, Michael Amott, and Sharlee D'Angelo, the band played a sold out Japan tour in May 2016 to celebrate the 20th anniversary of both Arch Enemy and the release of their debut album, Black Earth, they only performed songs from the band's first 3 albums Black Earth, Stigmata, and Burning Bridges.[17]
On 26 August 2016, it was announced that Arch Enemy was working on their tenth studio album which would be released in 2017.[18] On 22 May 2017, the band revealed that the album would be entitled Will to Power, to be released on 8 September 2017 by Century Media Records.[19] The first single, "The World Is Yours", was released on 14 July 2017, along with a music video that gained more than 1.1 million views on YouTube in the first two days.[20] On 2 August 2017, The band announced a co-headlining North American tour with Trivium in fall 2017 with While She Sleeps and Fit for an Autopsy as support acts.[21]
In an October 2018 interview, Michael Amott announced that he has been "writing a little bit here and there" and has "a few new ideas" for the next Arch Enemy album.[22]
Musical style[edit]
Arch Enemy's musical style has been classified as melodic death metal.[23][24] AllMusic critic Steve Huey describes the band's sound as a "blend [of] progressive and death metal influences."[25] Earlier albums, such as Burning Bridges, while still classified as melodic death metal, are more centered around classic death metal.[26] Influences to Arch Enemy are cited as Iron Maiden, Judas Priest, Black Sabbath, Manowar, Metallica, Megadeth, Slayer, Testament, Pantera, Death, Carcass, Obituary, Mercyful Fate, and King Diamond.
Band members[edit]
Main article: List of Arch Enemy members
Current members
Michael Amott − guitars, keyboards, backing vocals (1996–present)
Daniel Erlandsson − drums, keyboards (1996, 1998–present)
Sharlee D'Angelo − bass (1999–present)
Alissa White-Gluz − lead vocals (2014–present)
Jeff Loomis − guitars, keyboards, backing vocals (2014–present)
Discography[edit]
Main article: Arch Enemy discography
Studio albums
Black Earth (1996)
Stigmata (1998)
Burning Bridges (1999)
Wages of Sin (2001)
Anthems of Rebellion (2003)
Doomsday Machine (2005)
Rise of the Tyrant (2007)
Khaos Legions (2011)
War Eternal (2014)
Will to Power (2017)
References[edit]
Jump up ^ "ARCH ENEMY: Japanese Support Acts Announced". Blabbermouth.net. 2004-06-05. Retrieved 2009-08-10.
Jump up ^ "Arch Enemy: Guitarist Christopher Amott Rejoins The Fold". Blabbermouth.net. 2007-03-22. Retrieved 2010-08-22.
Jump up ^ Gossow, Angela (2007-03-16). "Angela Gossow offers update from the studio (incl. video)". Archenemy.net. Archived from the original on 2007-06-18. Retrieved 2010-08-22.
Jump up ^ "Bloodstock Heavy Metal Festivals". Bloodstock.uk. Archived from the original on 22 August 2010. Retrieved 2010-08-22.
Jump up ^ "Arch Enemy's Audio Message for Japanese Fans". creativeman productions. 2008-03-05. Archived from the original on 2011-10-06. Retrieved 2008-03-05.
Jump up ^ "Merci Beaucoup, France and Luxembourg - Arch Enemy Tour Recap". Archenemy.net. 2007-03-16. Archived from the original on 2010-06-26. Retrieved 2010-08-22.
Jump up ^ Popoff, Martin (2008-09-22). "Arch Enemy Plans To Re-Record Album Of Early Material, ..." MetalUnderground.com. Retrieved 2010-08-22.
Jump up ^ "ARCH ENEMY: 'The Root Of All Evil' Coming This Fall". Blabbermouth.net. 2009-06-23. Retrieved 2010-08-22.
Jump up ^ "Dubai Desert Rock Festival 2009 attendance press release". Blabbermouth.net. 2008-09-15. Archived from the original on 25 September 2008. Retrieved 2008-10-06.
Jump up ^ "Motorhead to Headline Dubai Desert Rock Festival". Blabbermouth.net. 2008-11-25. Retrieved 2010-08-22.
Jump up ^ Kumar, Shyama (2009-03-07). "Metal lives at Dubai's Desert Rock festival". Gulfnews.com. Archived from the original on 10 March 2009. Retrieved 2009-03-17.
Jump up ^ "ARCH ENEMY To Enter Studio In December". Blabbermouth.net. 2009-09-28. Retrieved 2009-09-29.
Jump up ^ "ARCH ENEMY - FILM COLOGNE SHOW ON TUESDAY, DECEMBER 13TH!". archenemy.net. 2011-12-12. Archived from the original on 2011-12-16. Retrieved 2011-12-14.
Jump up ^ "Christopher Amott and Arch Enemy part ways". Arch Enemy Facebook. March 5, 2012.
^ Jump up to: a b "Angela Gossow Leaves Arch Enemy". Metal Hammer. 17 March 2014.
Jump up ^ "Wow: ARCH ENEMY Announce New Guitarist Jeff Loomis". MetalInjection.net. Retrieved 2014-11-22.
Jump up ^ Former And Current Members Of Arch Enemy Reunite In Black Earth - Blabbermouth.net
Jump up ^ "ARCH ENEMY Aiming To Release New Album In September 2017; "We'll Take Our Sweet Ass Time, Because If It's Good It's Good, But If It's Not We'll Keep On Working,"Says Bassist Sharlee D'Angelo". Brave Words & Bloody Knuckles. 28 August 2016. Retrieved 28 August 2016.
Jump up ^ "ARCH ENEMY To Release 'Will To Power' Album In September". Blabbermouth.net. 22 May 2017. Retrieved 2 August 2017.
Jump up ^ Hill, John (14 July 2017). "Arch Enemy Unveil Music Video for Anthemic New Track "The World Is Yours"". Loudwire. Retrieved 2 August 2017.
Jump up ^ "TRIVIUM And ARCH ENEMY To Join Forces For North American Tour; BLABBERMOUTH.NET Presale Available". Blabbermouth.net. 2017-08-02. Retrieved 2017-08-02.
Jump up ^ "MICHAEL AMOTT Has 'A Few New Ideas Already For' ARCH ENEMY's Next Album". Blabbermouth.net. 2018-10-23. Retrieved 2018-10-26.
Jump up ^ Law, Sam (17 January 2015). "Kreator plus: Arch Enemy, Shining". Kerrang!. No. 1551. p. 50. Rejuvenated melo-death crew Arch Enemy bring the first metal punch tonight...
Jump up ^ Freeman, phil. "Arch Enemy - The Root of All Evil". Allmusic. Retrieved 6 September 2015.
Jump up ^ Huey, Steve. "Arch Enemy - biography". Allmusic. Retrieved 6 September 2015.
Jump up ^ Huey, Steve. "Review: Arch Enemy - Burning Bridges". Allmusic. All Media Guide. Archived from the original on 24 August 2011. Retrieved 5 January 2017.
External links[edit]
Heavy metal music portal
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Arch Enemy
Michael Amott
Daniel Erlandsson
Sharlee D'Angelo
Alissa White-Gluz
Jeff Loomis
Angela Gossow
Christopher Amott
Johan Liiva
Martin Bengtsson
Peter Wildoer
Fredrik Åkesson
Nick Cordle
Studio albums
Black Earth
Stigmata
Burning Bridges
Wages of Sin
Anthems of Rebellion
Doomsday Machine
Rise of the Tyrant
Khaos Legions
War Eternal
Will to Power
Live releases
Burning Japan Live 1999
Live Apocalypse
Tyrants of the Rising Sun
As the Stages Burn!
Extended plays
Burning Angel
Dead Eyes See No Future
Revolution Begins
Video albums
Live Apocalypse
Tyrants of the Rising Sun
Compilation albums
Manifesto of Arch Enemy
The Root of All Evil
Related articles
Discography
Songs
Armageddon
Carcass
Carnage
Opeth
Spiritual Beggars
The Night Flight Orchestra
Nevermore
The Agonist
Authority control
WorldCat Identities
BNF: cb140718207 (data)
ISNI: 0000 0001 2286 1758
MusicBrainz: e631bb92-3e2b-43e3-a2cb-b605e2fb53bd
SUDOC: 161906605
VIAF: 132146289
Retrieved from "https://en.wikipedia.org/w/index.php?title=Arch_Enemy&oldid=865836624"
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