Headbanging in what seemed to be slow motion, the crowd oscillates towards the stage and away again like a tide reluctant to rise. Amon Amarth, the Viking metal group from Tumba, Sweden had yet to stroll out onto the stage. A sea of sweat and beer drenched horn-throwers grows restless and proceeds to shout the band’s name, like any dedicated group of fans. The band waits off stage for their cue to march to their weapons, yet remain in view; merely silhouettes of seven foot-tall man-gods. All too quick, the unanimous “A-MON-A-MARTH” transcends into a contest of screams and growls. Eyes shut; the sound resembles an approaching demonic thunderstorm - no distinct beginning or end to the horde of blood-curdling vocal cord mutilation. Dressed in unyielding black from top to bottom, the giants of men take stage and waste no time in throwing the audience right into the title track off their newest 2008 album Twilight of the Thunder God. The crowd grows louder in an attempt to match the intensity and clarity of baritone Johan Hegg’s voice, each time the first lines of the chorus are sung, “Thor! Odin's son! Pro-tec-tor of mankind! Ride to meet your fate.”
I’ve witnessed a handful of Amon Amarth shows, but have never had the privilege to see them headline here in the States. The Seattle show at the Showbox was the fourth date on their U.S. tour in support of Twilight of the Thunder God, so needless to say, the Heineken and Finlandia hadn’t gotten the best of them yet.
Amon Amarth blasts through the follow-up track to “Thunder God”: “Free Will Sacrifice,” complete with their patented off-beat, windmill headbanging, their necks the only visible part of their bodies moving. Afterwards, the men retreat to their corners of the stage to slam a beer as Johan greets the audience, “So. You guys like the new shit?” The crowd responds in what resembles a Y-E-A-H. One unfamiliar with death metal nonsense may find the music too dark, too scary, too J.R.R. Tolkien. Nevertheless, it’s hard to take it too seriously when Johan lets go of the front so many metal musicians desperately cling to, and shows a big smile matched with an eyebrow raise from which even a grandmother could melt.
Amon Amarth blasts through another four songs, breathing in between. They cover their hits like “Valkaries Ride,” “Asastor,” and the ever-so-popular sing-along “Runes to My Memory.” For the first time, I was able to hear “Under the Northern Star” off the 2006 Billboard album With Oden on Our Side. If you’re not a metal fan, this album will make you one.
Nearing the end of their set, I step back to the bar to watch the encore and its insanity occur in real time, while wetting my whistle. A single spotlight grows on each member, and, as if he were Moses, Johan points to a section of the crowd with a straightened arm and outlines a circle with his korv-sized index finger. A circle-pit one mile wide engulfs all who brush against her outer flanks. Ear-to-ear smiles take the place of expected fearful mouths of clenched teeth as men, women and children are thrown about and picked up off the floor with helping hands. Camaraderie through sweat, skunky beer and fantastic imagery of Vikings dominating a new found land: now that’s metal.
Major props to Eluveitie (El-vay-Tee), the Celtic Folk Metal group from Switzerland, for opening the evening and pumping up the crowd. I encourage anyone who enjoys the full sounds of folk instruments accompanied by traditional metal guitars and a clear throat-ist (Chringell Glanzmann) to check out their 2010 album Everything Remains as it Never Was. Think of your favorite Irish pub song meets “..but this one goes to eleven.”
Holy Grail must have a very distinct fan base as they sound maybe just a bit too much like Iron Maiden. Killer duo guitar solos and one sexy rhythm guitarist might be why this L.A. thrash group was nominated for “Best New Band” in the 2010 MetalHammer Golden God awards.
