Nemesis Galloping Double Bass — Daniel Erlandsson (Arch Enemy) Drum Lick | MetalForge
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Learn the Nemesis Galloping Double Bass drum lick by Daniel Erlandsson of Arch Enemy. From Nemesis (Doomsday Machine (2005)). "Nemesis," from Arch Enemy's 2005 album Doomsday Machine, is one of the band's most recognisable ant...
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1. Daniel Erlandsson's Signature Licks — "Nemesis," from Arch Enemy's 2005 album Doomsday Machine, is one of the band's most recognisable anthems, and Daniel Erlandsson's drumming is a masterclass in how to power a melodic death metal hit. The track is built on driving double bass and a galloping intensity that propels the soaring twin-guitar leads, but Erlandsson keeps it disciplined and song-serving — the kick work is relentless yet locked to the riff, and the grooves hit with weight rather than chaos. His signature touch is consistency: the double bass stays even and articulate from the first verse to the last chorus, never dragging or rushing, which is exactly what gives the song its unstoppable momentum. In his drum-cam of "Nemesis" you can watch how he balances power and control, driving hard while staying relaxed enough to last the whole performance. What makes Erlandsson such a strong model for metal drummers is his combination of stamina, precision, and taste — he proves that a great metal drum part is about locking the groove and supporting the music, not showing off. For drummers, "Nemesis" develops fast, even double bass, the endurance to sustain it across a full song, and the ability to dial fills and accents into a tight arrangement. The practice path is clear: groove the kick pattern slowly until it is even, build it up with a metronome, and keep the body relaxed so the energy lasts. "Nemesis" remains a perfect study in commanding, melodic metal drumming.2. Daniel Erlandsson Profile — Drive even, articulate double bass locked tightly to the galloping riff Keep the kick consistent from first verse to last chorus for momentum Hit grooves with weight while staying relaxed enough to last the song Dial fills and accents into the arrangement rather than overplaying Build the double-bass evenness slowly with a metronome before tempo
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