Whilst Amon Amarth clearly split opinion in the Ave Noctum office, there are enough of us who enjoy their work enough to spark a Viking battle; the likes of which they will probably write about on their next album. After settling things in time honoured fashion, I won the beard-off, and settled down to take in the latest from the Norse nightmares. Ever since 2004’s ‘Fate of Norns’ the format has been very clear, and there is no reason to expect anything different here. Galloping riffs, soaring leads and excerpts from Norse mythology will be the order of the day. Anything else would be as shocking as Bolt Thrower delivering an album that is not about war, or Nile deciding to take a time out from ancient Egypt. Amon Amarth fans know what to expect, and with ‘Deceiver of the Gods’ they do not disappoint.
The first thing that strikes me about Amon Amarth albums is usually the album artwork. In the digital age where so many bands are reluctant to put the effort into their artwork, Amon Amarth always manage to come up with something particularly eye-catching and striking, and they have come up with another beauty here. The cover is by no means a guarantee of quality within however, and after the rather lacklustre ‘Sutur Rising’ I was certainly hoping that Amon Amarth would bounce back with a vengeance, and I’m glad to report that they have. Opening with the title track, it is business as usual for the Vikings, with ‘Beard Almighty’ himself, Johan Hegg in low rumbling and aggressive form, whilst the twin guitar attack of Johan Söderberg and Olavi Mikkonen provides a perfect harmonic backdrop, but things really kick into gear on ‘As Loke Falls’. The lead riff has a classic Iron Maiden feel to it, but it is the bass and drums that really drive this along as this one will clearly be one of the future live favourites.
The Maiden influences remain strong on ‘Father of the Wolf’, with its catchy chorus and infectious rhythm and intoxicating lead breaks, it is only let down by its generic base riff although it’s easy to overlook that in the greater scheme of things. The band really sound like they have a fire under them this time and that they are revelling in their work, with the ‘Shape Shifter’ being a prime example of the band at the peak of their powers. Hegg is in commanding form, seemingly clearer in his delivery without losing any of the power or aggression that you would expect, but it is the riffs that overrun you and conquer by force of will. Being no strangers to collaborations, it comes as no surprise to find a guest appearance from Messiah Marcolin on ‘Hel’, which works surprisingly well given the major contrast in styles.
Amon Amarth may not be the most adventurous band when it comes to song structure, subject matter, lyrical content or shaving techniques, and if you are indifferent to their style at the moment, there is nothing to change that here; but if you are happy with the formula the band have stuck to for the past 10 years or so, then you will find yourself very pleased with their latest offering. Once again the production is excellent as we have come to expect from these guys, and it helps to provide a sense of Viking pride when you listen. In fact my morning commute has been much easier whilst listening to this for the past 2 weeks, as now I feel perfectly comfortable in crushing the foolish drones that cross my path. It’s not so much a journey to work as it is Ragnarok, and with Amon Amarth at my side I shall be victorious.
(8/10 Lee Kimber)
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