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SPILL NEW MUSIC: THE DIRTY NIL – “SPIDER DREAM”
SPILL ALBUM REVIEW: SUZI MOON – TURBULENT HEARTS: ALL OUT
SPILL ALBUM REVIEW: SPARKS – MAD!
SPILL ALBUM REVIEW: CLARA JOY – WHAT WE HAVE NOW
SPILL ALBUM REVIEW: HOWARD JONES – PIANO COMPOSED IVORY & PIANO COMPOSED SPIRIO
SPILL ALBUM REVIEW: SEDONA – GETTING INTO HEAVEN
SPILL ALBUM REVIEW: JESS KERBER – “FROM WAY DOWN HERE”
SPILL ALBUM REVIEW: POST DEATH SOUNDTRACK – IN ALL MY NIGHTMARES I AM ALONE
SPILL LIVE REVIEW: SESSANTA: PRIMUS, A PERFECT CIRCLE & PUSCIFER @ BUDWEISER STAGE, TORONTO
SPILL FEATURE: WHEN EVERY NOTE GOES UNDER THE MICROSCOPE – A CONVERSATION WITH HOWARD JONES
SPILL VIDEO PREMIERE: CDSM – “SHOCKABLE RHYTHM”
SPILL NEW MUSIC: AYSANABEE RELEASES NEW TRACK “HOME” FROM UPCOMING ALBUM ‘EDGE OF THE EARTH’ OUT JUNE 20 ON ISHKŌDÉ RECORDS
SPILL LIVE REVIEW: MINISTRY w/ MY LIFE WITH THE THRILL KILL KULT & DIE KRUPPS @ PALACE THEATRE, SAINT PAUL (MN)
SPILL NEWS: CHARLOTTE DE WITTE ANNOUNCES “NO DIVISION” FROM LONG-AWAITED DEBUT ALBUM OUT NOVEMBER 7 | 6 NEW YORK SHOWS IN 4 DAYS
SPILL NEW MUSIC: DAN PALLOTTA – “WORKING MAN’S SON”
SPILL FEATURE: FOR BETTER OR FOR WORSE WE LIKE IT REALLY STUPID LOUD – A CONVERSATION WITH OLIVER ACKERMANN OF A PLACE TO BURY STRANGERS
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SPILL ALBUM REVIEW: AMON AMARTH – THE GREAT HEATHEN ARMY

Amon Amarth

Amon Amarth
The Great Heathen Army
Metal Blade Records

With a Viking pop cultural moment in Netflix’s Vikings: Valhalla series, it is an auspicious time for melodic death metal band Amon Amarth to release its 12th album. Plundering Norse mythology and history for lyrical themes, Amon Amarth’s Viking shtick has been both a barrier to entry for would-be fans and a branding cornerstone of its success. Teeming with catchy, heavy riffing and theatrical battlefield violence, The Great Heathen Army is the Swedish band’s most accessible album yet.

The title track is downright danceable. Evincing the dread of the historical Great Heathen Army’s raids on ninth century English monasteries, vocalist Johan Hegg bellows, “You know there’s nowhere you can run/ Salvation will never coooome!” Hegg’s ability to enunciate powerful, deeply growled roars in key is astonishing, and his vivid storytelling elevates formulaic song structures.

Andy Sneap’s super-slick production is crisp but unfortunately extracts Amon Amarth’s menace, like “a dog without a bite…a wasp without a sting,” to quote opener “Get in the Ring.” “Heidrun” is the only death metal song honoring a mythical goat you’ll hear. Complete with bleats, this folk metal (goat) cheese curdles because they take themselves too seriously to break character. “Heidrun” sounds like a humorless version of English lad-rockers Kasabian, Amon Amarth fixated on mead and mutton instead of Ecstasy and hooliganism.

“Oden Owns You All” utterly does. It double-bass drum kicks dual speed metal guitar riffs into a deep groove chorus punctuated by Jocke Wallgren’s technical drumming–just one of his superior performances throughout The Great Heathen Army. “Dawn Of Norsemen” is another thrash number with a captivating middle eight. The two guitarists pick against a stark silence, a welcome respite before a harrowing modal bridge to doom. Applied to other tracks, the range the band displays here would have made this very good album great.

Regardless, Amon Amarth can still make a great song like “The Serpent’s Trail,” which swings from loss to hopelessness to salvation like an epic poem. Melodic guitar figures and symphonic elements intertwine and build to Hegg’s gripping, spoken word-then screamed revelation: “As I face my deepest fears, I open up my heart/ And so a different path appears, my ascension starts.”



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SPILL ALBUM REVIEW: AMON AMARTH – THE GREAT HEATHEN ARMY

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Charles T. Stokes

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About the Author
Charles T. Stokes
Charles T. Stokes is a nonprofit resource development coordinator and donor researcher based in Denver, USA. He’s also a tennis player and writer looking to make a racket with his own noises. “There are places in the world where one cannot publicly listen to or perform whatever music they choose without fear of harassment or prosecution. The freedom to write about new music is power, a privilege.”
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