When examining an Einherjer album in 2015 one might be tempted to ask, is it more difficult for a ‘Viking metal’ band to be successful, relevant, and to command respect now than it was ten years ago? Pagan/Viking/heritage metal will always maintain a rabid, faithful host of fans, but what happens when a style of music gets put through the commercial grinder, rung out for all its worth, and winds up turning off more people than it turns on?
For Einherjer, one of the elder statesmen in the post-Bathory world, the rising and falling of trends is of little concern. The answer for them at least is business as usual. Being from Norway, the subject matter found in the lyrics and imagery of so many Norse mythology-espousing bands is really, truly, something they own. Long ago they cornered the market in folk metal before folk metal was even a thing. Here was a group from the black metal mecca of the world, taking shape at the crest of that genre's second wave, making music that evoked their homeland and yet was truly their own unique brand of sonic storytelling. There was nary a smudge of corpse-paint to be found among their trove of victuals; virtually no blast beats or tremolo picked riffs either. Like Enslaved and Kampfar, they walked a different path. But unlike those two godly progenitors, Einherjer was also musically entrenched in something quite apart from their more extreme countrymen.
This attitude is apparent in the title of their latest album, Av Oss, For Oss. English being such a war-born mish-mash of older languages, one can easily glean the translation here. By Us, For Us, it means, and that makes sense, because Einherjer never cared what was trendy or popular, and they sure as shit do not appear to be starting to now. They took a lot of flack for 1997’s Odin Owns Ye All, whose clean campfire sing-a-longs and theatrical presentation had many critics reaching for their cheese graters. How positively droll that less than half a decade later that very sound would be gobbled up by every label with a pulse from Canada to Russia. Distancing themselves from such an approach, Einherjer slimmed down to a three-piece and very quietly, very consistently went about the business of making solid metal albums steeped in the lore of their homeland. Following a hiatus between 2004-2008, they solidified their approach, marrying folk with a touch of black metal and at last returned with 2011's dominant Norron.
On Av Oss, For Oss, Einherjer harks back to the Blot (2003) album with the cinematic, evocative instrumental intro 'Fremad.' Meaning forward, such a piece sets the distinct mood so necessary for albums like this to work. Are rolling waves striking a beach something we haven't heard a million times before? That's as may be, but when the classically arranged guitar and keys begin they send us somewhere else, shedding the centuries like unwanted clothing, until we see through the eyes of the ancient seafarers of Norway. 'Hammer I Kors' brings the riffs and the martial, mid-paced beat that Frode Glesnes (vocal, guitar), Gerhard Storesund (drums, keys), and Aksel Herloe (guitar) are so good at crafting. The gang vocal chorus is no high-spirited lay to dance around a fire by; it is the gritty mantra of the warrior in strange lands, one hand gripping tight to the ax by which he will conquer. Rasping, black metal vocals sung in Norwegian pilot a song steeped in heavy riffs, but not without a melodic touch of guitar leads. We aren't far from what Einherjer's countrymen Vreid are producing nowadays with this strong opening salvo. The album's first single, 'Nidstong,' comes next. It is catchy and brimming with the pride and distinctly Norse melodies for which its creators are known. The eerie repeated tone which mirrors that melody will stay in the listener's head for days. And what a hard-rock. trad metal guitar solo at the 2:40 mark! Truly exciting, superior quality music that enraptures with the Norse spirit yet never sacrifices the metal for the folk.
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'Hedensk Oppstandelse' is standard Einherjer fare, if perhaps a tad less engaging than the songs around it. Make no mistake; its still really good, but as 'Nord Og Ner' strikes with its slow, deep riffs and rasping chorus our attention is more riveted than a band of monks watching their prayer house burn. The guitar solo and tension building breakdown midway through, followed by a bass guitar/rhythm guitar interplay is unique and highly effective. No surprise this became another single as well.
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The album's story remains enthralling, each band member a skald for the modern world to enjoy. 'Nornene' features a hearty clean sung chorus which elevates it to level beyond the folk black metal roots of the band. There are some cinematic vocals as well, repeating "Yggdrasil Aske!" and spinning the folklore of ancient Norway with uncanny precision through the lens of modern musical instruments. 'Trelldom,' or bondage in English, is a bit more atmospheric and cerebral, conjuring a spirit of reflection and longing. It rocks out nicely, though, once again bringing its creators' traditional heavy metal wisdom to the fore. The last few minutes of 'Trelldom' spin out with some wicked bass guitar playing and some dream-like soloing. Einherjer marry this to Frode's awesome vocal performance perfectly; after making music together since 1993, their command of the craft is simply magnetic.
The eponymous final song clocks in at a Moonsorrow-esque 10:52. From the opening notes it will enrapture the listener. As a culmination of the musical ideas on the album, it admirably combines all their elements into a story that has been told around Haugesund (Einherjer's home) for centuries. Einherjer have a way with melodies and vocal lines that make you wonder if they don't own a time machine that lets them visit the dark medieval winters of ancient Europe. The dream-like atmosphere they evoke is made modern with some excellent guitar leads atop the slower, deliberate underpinnings of the song. The instrumental break halfway in captivates, with just enough keys to empower the whole affair and support the beautiful guitar work. A wordless choral accompaniment around the 7:00 mark ensures no heart-string will go un-tugged. Dreaming away to its martial conclusion, Einherjer marches off into the sunset with perhaps their most technically flawless release to date. The specific atmosphere on the Aurora Borealis E.P. may never get to be eclipsed, sure, but nostalgia is its own double-bladed ax, and what Einherjer have been doing since they resumed making albums again is placing their flag firmly in the ground of this whole folk/pagan/viking metal sound, while never removing their feet from the soil of good old heavy metal. The results are stunning.
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