by DAN SOUTHALL
FROM the opener “Gjallarhorn”, you just know The Allfather Awakens is an Amon Amarth album.
All the typical details are present and correct, and the opening set of tracks pass by with melodic monotony, displaying little variation.
It feels like background music before the acoustic campfire story telling of “Upphaf” kicks in, a slice of new territory Amon Amarth to explore. It sticks out like a kicked a toe without the pain, the most interesting thing the band have done in some time, showing off a softer underbelly never before revealed.
Using this centre point, the album begins to really show its musical abilities with the alternating melody and groove that has been on display on more recent excursions. “Die With a War Cry” and “Raven God” in particular harken back into heavier history while maintaining their newer musical approaches as vocalist Johan Hegg digs deep into his bellow.
Continuing in this rich vein of Side B form, “Ascending Like an Eagle” sees the band reaching way back into their bag o’ tricks and hitting the listener over the head with something that sounds as though it has come from an earlier slabs like With Oden On Our Side, dirtier and faster with some black metal riffage thrown in for good measure and pushing the vocals to the front.
This deep into a successful career Amon Amarth are hardly going to about-face and release an album of pop hits, despite coming close with The Great Heathen Army. They know their strengths and understand their fanbase is happy to tune in, bang their heads and row like maniacs when the time calls for it.
What we have here is an album of Viking metal and tales of Norse culture just like before, so grab your horn of mead and bang your head!
