Arch Enemy’s sixth studio album, Doomsday Machine, was produced and mixed by Rickard Bengtsson and Andy Sneap. Angela Gossow’s vocals appear on the third album. The album was a commercial success, charting at 87 on the Billboard 200 and selling 12,000 copies. Christopher Amott left the band shortly after the album’s release in July 2005 but returned two years later for the Rise of the Tyrant songwriting sessions.
Critics gave Doomsday Machine mixed reviews. PopMatters’ Adrien Begrand praised the songs, highlighting “Enter the Machine” “Nemesis” and “My Apocalypse” Michael and Christopher Amott “truly shine on the album” he says, and Arch Enemy “marry the brutal with the melodic” with “impressive skill” Arch Enemy “Enter the Machine” said Tom Day of musicOMH, who also praised “a prime example of metal at its very, very best…
This instrumental is simply breathtaking” calling it “set themselves apart from so many mediocre death metal acts by never letting their songs stagnate.” Doomsday Machine, according to Maelstrom’s Pal Meentzen, “gives a worthy example of contemporary (Swedish) melo-death. It’s a slightly better album than Wages of Sin and a lot better than Anthems of Rebellion,” and “My Apocalypse” is a “perfect example of a band that’s found the right consistency in its lineup.””
He did, however, criticize the fade out of “Slaves of Yesterday” “perhaps the most impressive aspect of this album is the heavy use of dual guitars and solo’s [sic], not something usually in the forefront of this genre.” said Evil Rocker of Metal Rules. According to Jackie Smit of Chronicles of Chaos, the album “as a whole is likely to disappoint only the most selective listener.” compared to the previous album Anthems of Rebellion. According to Allmusic’s Eduardo Rivadavia, Doomsday Machine is “fundamentally, yet another immaculately produced Arch Enemy album, forged first and foremost by the vision of Michael Amott’s guitar.”
Metal Eater’s Ciaran Meeks stated that the band “have harked back to their roots on this album, reworking and revitalizing the musical philosophy of albums such as Stigmata and Burning Bridges into a new-millennial context that will doubt