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In Flames & Arch Enemy tickets at Eventim Apollo in London
sön 6 okt. 2024
Kilimanjaro Live presents Plus Soilwork
Eventim Apollo, London, United Kingdom
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Kilimanjaro Live presents

Kilimanjaro Live presents Plus Soilwork
Eventim Apollo
45 Queen Caroline Street Hammersmith
London, United Kingdom W6 9QH
sön 6 okt. 2024
Insläpp: 17:30
Biljettsläpp: fre 24 nov. 2023 - 9:00 GMT
14s and under to be accompanied by an adult
No under 3s permitted

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Biografi: In Flames

What doesn’t kill you makes you stronger. Perhaps one of the big clichés, but unusually evident when it comes to In Flames and their new album ’Siren Charms’.

To lose one of the musical engines of a band usually means a ticket to the graveyard of bands for an eternal rest among abandoned careers and reasonably forgotten last albums. Sure, history has proven the opposite once or twice - but one could question if anyone has risen from the ashes with such strength and power as In Flames? When guitarist Jesper Strömblad left the band following 2008’s A Sense of Purpose, the harbingers of doom were very vocal on the imminent collapse of the Gothenburg band.

That never happened. In what must be described as a pure backlash, the band delivered its strongest album to date - Sounds of a Playground Fading - which was both awarded for gold-level sales and topped charts in both Sweden and Germany. Siren Charms, the first album with Niclas Engelin as permanent guitarist in the band, cements the greatness hinted at with the previous album; this is a band taking it’s game several steps forward, leaving both imitators and nay-sayers far behind.

The first sign that the band have taken a different route is the choice of studio. Where they previously have recorded at home in Gothenburg, the whole operation was now moved to Berlin and the legendary Hansa Ton Studios. At the Köthener Strasse-location, artists like Iggy Pop, David Bowie, U2 and Killing Joke have all recorded some of rock history’s most spoken of classics, and it is no exaggeration to say that history can be felt in the walls. Here, the band settled in with producer Roberto Laghi and vocal producer Daniel Bergstrand. Based at Hansa since a few years is also swedish mix-engineer Michael Ilbert, who was appointed to mix the album after keyboard-wizard Örjan Örnkloo once again contributed with his characteristic programming and synthesizers. Both guitars Björn Gelotte and vocalist Anders Fridén are convinced that the choice of environment has had an influence on the final results. All details, big and small, interconnect and have given the eleven new songs a darker sound and tone. A darkness and sadness in the music’s atmosphere that anyone who has wandered home drunk through a rainy Kreuzberg at four in the morning can recognize.

If ’Sounds of a Playground fading’ took more than three months to complete, the band gave themselves six weeks to record ’Siren Charms’. They brought ”a bag of riffs” and a hand full of song structures to start off. The method meant a self-inflicted pressure to feed creativity and was a daring move. It also meant that Anders Fridén and Björn Gelotte got to collaborate in a new way as song-writers. Previously, Björns love of classic rock and Fridéns wish to experiment resulted in clashes with both parties claiming ”You ought to think like this… No, YOU ought to think like THIS!”. With the limited time in the studio, they instead had to embrace each other’s different approaches and turn them to strengths.

Daniel Svensson, drummer of In Flames, got demos of the songs with simple programmed drums, and could then add his personal touch to the sessions. Given the intricate and highly intense drumming on the album, one would easily guess that he’d been playing the songs for months, but it is often first-take recordings delivered with laser-sharp precision. Fridén and Gelotte can’t give him enough praise, claiming him to be one of the world’s best drummers who doesn’t make too much fuss around his drumming (”He doesn’t go around doing drum-glove endorsements really”), but always delivers flawless takes in the studio and on stage. Together with bass player Peter Iwers, they create a foundation for the music so solid you could build Burj Khalifa on it.

One of the biggest differences from previous albums comes from Fridén as well. Where he used to mix his vocals with both screaming and growls, Siren Charms is more or less completely fragile and delicate when it comes to the vocal delivery. It is the result of a vocalist with no holds barred, bearing his throat and letting the listener come closer than ever before. It’s intimate, emotional and powerful. The album title refers to the female creatures from the Greek mythology who lured sailors with their singing, only to watch their ships crush against the cliffs and sink. A story that is told in different ways over the albums lyrics and is applicable to the many aspects of the human need to intoxicate ourselves, and submit to seduction. They are fascinating tales of what we are prepared to sacrifice to achieve those states of mind.

Siren Charms secures In Flames position as a metal band that never stands still, and it is doubtlessly a band that continues to take risks, push boundaries and challenge themselves as much as their audience. That the adversities haven’t killed the band is quite obvious - but the question is if In Flames have ever been this strong?

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Biografi: Arch Enemy

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.



WEdge

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