It’s been a lengthy wait that fans have had to endure since 2016’s exceptional Jomsviking. Not that Amon Amarth have been idle, playing support to the likes of Megadeth in the US, whilst headlining a number of UK dates including a rapturously-received headline slot at the mighty Bloodstock Festival in 2017. With new drummer Jocke Wallgren firmly entrenched behind the kit (having joined in the wake of Fredrik Anderson’s departure), the band joined producer Jay Ruston to record Berserker, wrapping up proceedings early in 2019. Unlike previous efforts, frontman Johan waited until the music was complete before starting work on the lyrics, drawing from a range of influences to craft an album about remaining united in the face of adversity.
Opening the album, the subtle strains of acoustic guitar provide a gentle, folk-influenced backdrop before the band launch into Fafner’s Gold a mid-tempo bruiser that shows little has changed in the Amon Amarth Camp. Still dealing in a melodic strain of death metal, the rampant flood of the verse gives way to a chorus that is underpinned by deft leadwork, Johan’s now-familiar roar guiding us on a journey to recover lost treasure. It’s this mix – the brutal and the fantastic – that keeps fans returning to Amon Amarth album after album, and they have lost none of their skill at relating a grand tale. A touch different is the vibrant groove of crack the sky, a short, punishing blast that will get those heads baning in the pit. The sound of an ancient forge rings out across the intro to Mjolner, Hammer of Thor, a deathly take on Iron Maiden’s oeuvre with harmonised leads, galloping drums and throbbing bass, topped with Johan’s gargantuan roar. Things head back into deathlier territory for shield wall, a gruelling assault driven relentlessly forward by Jocke’s percussive might. An album highlight, shield wall sees Amon Amarth operating at the peak of their not inconsiderable powers, and it leaves the listener battered and bruised. The chrome-plated riffing of Valkryia, if not quite up there with shield wall for sheer force, keeps the pace taut before the first side ends with Raven’s flight, a track previously released as a single. With its stair-stepping lead riff and blistering percussion, raven’s flight is another example of Amon Amarth’s unfailing ability when it comes to pairing deathly song structures with memorable hooks, and the song brings the first half of the album to an exhilarating close.
Kicking off side two, Ironside emerges after a short instrumental introduction that adds to the cinematic atmosphere Amon Amarth have always been careful to craft on their albums. A fast-paced, evocative piece it nonetheless pales in comparison when set against The Berserker at Stamford Bridge, a genuine epic complete with the sort of opening lead that will see audiences the world over singing along to the guitar. Acting as something of a palette cleanser after the dark majesty of its predecessor, When once again we can set our sails is a subtly folky death metal blast with a vicious performance from Johan and typically-excellent guitar work. In contrast, Skoll and Hati proves to be the album’s breakaway anthem, all hyper-speed, thrash-inspired riffing and dizzying percussion, although a mid-song breakdown sees fluid guitar work gain ascendency, driving home a melody that is utterly engaging even amidst all the blood and thunder that surrounds it. With the end of the album looming, the band up the aggression on Wings of Eagles, an otherwise straightforward cut, before a lengthy, synth-dominated intro announces the arrival of album closer Into the dark. Another cinematic take on death metal, into the dark is the perfect album closer and it showcases just how adventurous and exciting Amon Amarth can be. It feels like it lasts a fraction of it’s six-and-a-half-minute run time and it ends the album on a high.
Berserker is a fine record and another jewel in Amon Amarth’s increasingly resplendent crown. Arguably not as adrenalin-charged as the still-exceptional Jomsviking, Berserker feels more like a consolidation than an evolution, with a couple of the tracks settling into a traditional Amon Amarth pattern wherein they could more or less fit on any of the preceding albums. However, when the band aspire to hit the cinematic peaks of which they’re capable (for example on Skoll and Hati and into the dark), they demonstrate all the qualities that has seen them headline ever-larger stages over the last decade and fans will be glad to add Berserker to their collection. 8
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