“Pig Man” was the big single off “Vive La Trance” and its rhythm “She’s A Woman” guitar anchor into a kinda Delaney and Bonnie thing that along with the following track “Manana” are the album’s twin heels of Achilles as the former seeks to project the sort of boogie that would always be found backing Inga Rumpf while the latter’s ‘gone troppo’ moment is about as authentically reggae as Kevin Ayers’ “Caribbean Moon”: although the coda remains weirdly similar in feel to the transcendental coda Mick Taylor record on The Stones’ “Time Waits For No One” of the following year (Recorded in Munich, no less.) All is redeemed with Karrer’s screamingly Ferry camp-vox and his abrasive rhythm guitar flurry-fluster clusters that rip through “Ladies Mimikry” with a sawtoothed punk edge as the violin in the bridge reprise the same nightmarish sawing that adorned their very first album, “Phallus Dei.” In the coda, Karrer’s overdubbed saxophone blare like Andy Mackay and it’s all clear now: this is unquestionably their take on Roxy Music and a wonderfully jittery, brittle pastiche it is.If you need a place to start with Amon Düül II, you are better starting off with “Phallus Dei” or “Yeti” than “Vive La Trance” because it’s so highly unrepresentative.Majestic, watery organ tones part the opening of the instrumental, “Im Krater Blühn Wieder Die Bäume” (translating into English as “In The Crater, The Trees Bloom Once Again”) as springy jew’s harp synthesiser ping-pongs slowly across a re-fertilising landscape.Leopold’s drumming is sparsely fantastic as only his can be and the phasing upon his cymbals harkens back to an earlier era of Düül Zwei.In June 1998, as the band was about to commence a tour alongside Deicide, Six Feet Under and Brutal Truth, guitarist Anders Hansson left and was replaced by Johan Soderberg.After the tour Martin Lopez quit to join Opeth and Fredrik Andersson (ex-A Canorous Quintet) came in.The study offers some evidence that the measures may be useful in assessing dating violence in Mexican teens.
With lyrics by Falk-U Rogner, “Jalousie” sees the entry of vocalist Renate Knaup-Krotenschwanz, but at a range far higher than she ever had or would again, sounding for all the world like a teenaged Kate Bush gazing dreamily through her bedroom window on a rainy Sunday afternoon without pot.
With him in Spring 1999 the band recorded and released its second full-length, The Avenger.
The release was supported by the X-Mas Massacre Festivals Tour with Morbid Angel headlining. In support of it the band went on tour with Marduk and Vader, taking part in No Mercy Festival.
The band takes its name from the Sindarin name of Mount Doom, a volcano in J. Amon Amarth has released ten studio albums, one compilation album, one EP, one video album, and ten music videos.
Their lyrics mostly deal with Viking mythology and history, and so they have been associated with Viking metal.
“Trap” opens as a remarkably pre-post punk prototype with Weinzierl/Karrer’s needling and brash guitar cross-talking with Renate Knaup’s vocals: which are as fantastic as the lyrics’ hilariously bad translation/inadvertently surrealist/or neither meaning gets nailed down by Leopold’s pummeling floor tom punk timekeeping.