Amon Amarth are the AC/DC of death metal at this point in their career. Each album you go in knowing pretty much exactly what you’re going to get, with the only question being how good this particular serving will be. So just how good is this collection of melodeath riffs and Viking themed lyrics?

After the triumphant intro to Gjallarhorn we settle into typically muscular riffing from the off, accompanying Johan Hegg’s distinctive roar. The menacing growl of “give me a knife” at the end of the bridge is an incredible moment on par with anything else Amon Amarth have ever done. Gjallarhorn is probably the best song of on The Allfather Awakens, but falls prey to the biggest flaw with this record: a weak chorus.

I could go through this record and list every song where I don’t think the chorus is up to snuff, but then I’d just hand out the full tracklist and be done with it. Eight Legs of Thunder is probably the worst of them all, falling completely flat with a melody that fails to capture the majesty that it’s trying for. It’s the same story across the album, which is odd. In the past I would always call out Amon Amarth for having the best choruses extreme metal has to offer. The soaring guitar melodies with Hegg’s surprisingly dynamic delivery where always exciting and singalongable. Here though, there’s just a certain x-factor missing that’s hard to capture in words, but there’s just a lack of energy. We Rule the Waves is the archetypical example. Amon Amarth singing “we are, we are Vikings!” should be a home run, but it doesn’t land.

The riffs on the record are functional with some absolutely blinding stand outs. Kvair’s Blood grooves so hard that it’s impossible not to move your body when you hear it. Die With a War Cry stomps along menacingly. These are the moments I was searching for on The Allfather Awakens, Amon Amarth songs elevated a little with certain extra flourishes but sadly their aren’t quite enough of them here.

The one big surprise on the record is Upphaf. If you roll your eyes when I write the phrase “Amon Amarth have done an acoustic song”, I feel your cynicism. It’s a ludicrous idea. Johann sings with a gravelly bass voice, accompanied by marching guitar strums and precise drumming. There’s nothing weak or soppy to this song and it almost works. Sadly, it’s too long. I got the idea of what the song was within the first two minutes, but then it kept going for another two and a half. It’s a bold experiment this far into their career, but let’s keep it short and sweet next time.

Ultimately, The Allfather Awakens is an Amon Amarth album. If you’re a diehard fan, I’m sure you’ll love it. If you’re more casual, then perhaps it’s best to skip this one. As much as I enjoy some parts of the record, I can’t really pick out which songs I’d be happy to see in a live set. I wouldn’t necessarily be upset if, for example, Oden’s Hunt made it onto a setlist, but from every other Amon Amarth record I actively want to hear at least one song in the live setting and I’m just not getting that here.