Eluveitie's 'Ategnatos' - Album Review

Despite releasing a string of well-received albums over the years, Switzerland's Eluveitie have never truly broken through here in the UK. Over the years I have seen the band twice, both times as a support act, but sadly the unique folk metal act seem destined to play second fiddle over here. It might be that their music, while extremely impressive, is - at times - quite hard to digest. They are not a band to write accessible, melody-driven songs with soaring choruses; instead they seek to weave their Swiss heritage into an ever-increasing heavy tapestry of mid-1990s death metal riffing. Folk metal is a bit of a broad church and, I have to say, much of it does little for me. Much of what passes off as folk metal is, in my opinion, overly-cheesy drinking music that only passes off as 'folk' because an accordion (or other 'traditional' instrument) is thrown into the mix. Bands like Korpiklaani fall into this category for me, and they really leave me cold. Eluveitie however are 'folk' in possibly the purest sense. Folk music is more about storytelling and heritage, as opposed to a particular 'sound', and these are things that Eluveitie thrive on. Many of the band's songs are about their homeland and their ancestors, with conceptual threads often running through their albums and narration to help bridge the songs. The band do of course include traditional instruments and melodies in their songs too, but the fiddles, hurdy-gurdies, and whistles are truly woven into the band's metal riffing. These elements do not feel like an afterthought, but instead are essential in creating the dense atmosphere that characterises Eluveitie's music. This sound and atmosphere is as present as ever on Ategnatos, the band's eighth album that was released last month. This follows on from the 2017's acoustic Evocation II: Pantheon, which saw the band regroup after a fairly major line-up change. I thought it was strange for frontman and sole-original member Chrigel Glanzmann to debut his new Eluveitie on an acoustic album, but Pantheon was well-received and seemingly helped to ease fans into getting used to the band's five new faces! Ategnatos (which is Gaulish for 'reborn' - appropriate) is the band's first metal release in five years, following on from 2014's strong Origins. Those who liked the denser, more conceptual route taken on Origins and 2012's excellent Helvetios will feel right at home with Ategnatos. This new album is similar to those two previous opuses, right down to actor Alexander Morton's earthy narration. I think it is certainly fair to call Ategnatos 'more of the same', but with the band now well-entrenched in this sound and style I think it would be foolish for them to stray far from what has brought them success. That being said, I do feel that the riffing overall feels a little stronger than previously. This is probably thanks to new guitarist Jonas Wolf who, on his first full metal outing with the band, has co-written many of the songs here.

Opening with swirling atmospherics and Morton's understated narration, the album's title track slowly builds up towards the band's core sound. Subtle whistle melodies soon start to cut through the dramatic percussion, before a solid mid-paced guitar riff joins the fray with Fabienne Erni's wordless vocals adding the colour. The track is under five minute in length, but the first couple of minutes is given over to his gradual build up before the first of the album's many potent death metal riffs kick in and Glanzmann showcases his immense vocal prowess. Despite Erni adding lots of colour and harmonies throughout the album, Glanzmann is the main vocal force of the band. His throaty harsh vocals is a perfect fit for the band, and this opening number makes the most of his talents - while the folky instrumentation of Nicole Ansperger, Matteo Sisti, and Michalina Malisz add jaunty melodies to contrast with the heaviness. The song's chorus is a strong one, with Erni showcasing why she was chosen as the band's new female vocalist with some chanting harmonies. The very short instrumental Ancus leads into Deathwalker, one of the best songs here. It opens with Malisz's hurdy-gurdy, before the song explodies into a mid-paced metal anthem with stop-start guitar riffing and the constant chiming of the hurdy-gurdy to provide some earthy roots. Eluveitie are not ones to often writing soaring choruses, but the effort here is excellent, and sees both Glanzman and Erni shining vocally. Their voices are very different, but they sing really well together. The melodies here, mostly led by Erni, have an almost power metal-esque feel to them, but still remain firmly rooted in the band's heavy sound. A folky instrumental section, with fiddle and other traditional instruments joining forces, is the first really progressive musical moment on the album and is a big part of what makes the song so strong. Black Water Dawn opens with acoustic guitars and a folky melody, but this soon gives way to a strident metal riff that forms the basis of the rest of the song. The song never really moves beyond a mid-pace, and the verses actually sound a little like Amon Amarth with Glanzmann's voice the main focus of the piece. He leads the nine-piece band through their paces perfectly, before Erni takes over for the chorus. While the band's previous vocalist Anna Murphy is a great singer, I think I prefer Erni in Eluveitie. Her voice is a little smoother and she fits in really well. The chorus here is a perfect example of what she brings to the band, before a rare guitar solo from Rafael Salzmann shows off a little classic metal virtuosity. A Cry in the Wilderness ups the pace, and comes roaring out of the gate with a pulsing death metal riff that is backed by Sisti's whistles and a little harp from Erni. After a couple of songs that focused a little more on the band's more melodic side, this is a number that really goes for the throat in terms of heaviness. The folk aspects are still there, but they are more in the background to create an atmosphere rather than to dominate. Wolf and Salzmann instead take the lead with some intricate guitar riffing, while long-time bassist Kay Brem adds some real depth with some pulsing playing. As a result this is one of the album's more aggressive pieces, and this is evident with a black metal-esque segment about two-thirds of the way through that features some impressive blast beats from drummer Alain Ackermann.

In contrast, The Raven Hill feels more anthemic with a strident mid-paced guitar riff and a fiddle/hurdy-gurdy lead that sounds a little bit like the sea shanty Drunken Sailor! Eluveitie very rarely stray into 'cheese' territory, but this song is one that does move closer to the line. This is not necessarily a bad thing however, as the presence of some big, powerful melodies is welcome after the all-out metal assault of the previous number. The groove metal-esque riffing, mixed with the dominating folk melodies makes for an interesting, yet modern, sound which helps the piece to stand out. It also features a strong chorus with some of Erni's chanting, hypnotic vocals to once again harmonise well with Glanzmann's barks. The short, whistle-led, instrumental piece The Silvern Glow adds a moment of acoustic-based calm, before the band launch into the short, yet impressive Ambiramus. Ackermann's drum beat has an almost dancey feel which is something different for the band, before Erni gets to take the centre stage for the first time on the album. She sings the whole song, with the exception of a few Glanzmann growls during the choruses, and her slightly poppy approach to the piece is welcome. Despite folky undertones, this is another song that feels quite modern, with melodies that would not sound out of place on a modern pop record, set to a metal backing. This is not Amaranthe by any means, but it is certainly Eluveitie at their most accessible and is a welcome addition to a varied and dense album. Mine is the Fury is more 'business as usual' for the band however, with a break-neck speed employed throughout and Glanzmann's throat dominating everything with some truly savage growls. The pace never lets up, and even the folky melodies added by the band's instrumentalists add to the heaviness with their spiky melodies. Again the song is quite short, but this helps it to have a real impact. It is a pure outburst of speed and energy, which certainly feels more impactful after Erni's poppy additions to the previous song. The Slumber also opens with Erni's vocals, and she goes on to play an important role in the song - with her and Glanzmann trading vocal lines throughout, making the song a rare duet. There is also a big role for Malisz here, with her hurdy-gurdy really rounding out the verses with its mournful sound. There is nothing quite like hearing a proper hurdy-gurdy, and it is an instrument that has always been a big part of the band's sound. The whistles and fiddle take over later for an instrumental section, but for me it is the hurdy-gurdy that steals the show here - as well as the two vocalists. Worship is an interesting song in that it features Randy Blythe (Lamb of God) performing a spoken word introduction, as well as some additional harsh vocals throughout. The band have employed narration on many of their albums, but Blythe's additions are different to anything on any previous Eluveitie album. He creates a creepy atmosphere, and the heavy song builds on this with some really raw riffing and some more blast beats from Ackermann. There are still some more melodic sections here though, with a more anthemic chorus including some higher screams from Blythe, before everything drops out for a short acoustic-based instrumental section. It is an extremely varied song and showcases a lot of the different faces of Eluveitie in one five minute period.

Another short bridge piece Trinoxtion adds some more spoken word into the mix, before a subtle folky melody joins the piece up with the gentle intro of Threefold Death. Erni's haunting vocals open the song, but this gentle vibe does not last long as some of the heaviest riffing soon kicks in briefly, before a muscular verse sees Glanzmann once again taking the lead with some of his trademark harsh vocals. The standout performer here for me however is Ackermann. His drumming throughout the album is excellent, but on this song he really shines. His faster beats are lovely and clean, and his playing during some of the more mid-paced sections is tasteful and a little progressive - showcasing beats that are a little challenging yet still serve the overall song. This is his first 'metal' outing in the studio with the band, and he has more than proven himself - along with the band's other 'newer' faces. Breathe is more of a mid-paced piece, with the heavy riffing often taking a backseat to the folky melodies and some more gorgeous vocals from Erni. The only problem with the default 'heavy' Eluveitie is that Erni is often relegated to more of a supporting role. She shone on Pantheon, but her lack of spotlight time only makes the songs where she takes the lead more special. She is the dominate vocal force here, and helps to make the song one of the more instantly-memorable pieces here. I am surprised that the song was not used as a single, as the gorgeous chorus is an instant winner - and is a little single to the band's previous singles. There are better songs to be found throughout the album, but for pure melodic focus - this is probably the winner. Erni is a real find for the band, and I hope to see her taking a bigger role in the band on future albums. Rebirth is a relatively old song, having first been released in 2017, but it has found a permanent home here. It was released at the time to show off the band's current line-up in a metal context after the acoustic-based Pantheon, so as a result contains a bit of everything that makes Eluveitie unique. It is a relatively heavy piece, but still remains accessible with Erni taking the lead vocally during the choruses, while Glanzmann barks the verses. There are folky melodies present throughout, including a jaunty instrumental section, as well as a couple of really shredding guitar solos. As mentioned earlier, guitar solos are very rare in the band's sound, so it always sounds a little strange when one kicks in. I think they add something to the overall song however, and provide a change from the fiddles and whistles that usually provide the instrumental focus. The song fades into Eclipse which is the album's lengthy fade out. Erni's vocals carry the melodies from Rebirth over, and she sings against a backdrop of swirling wind and rain. After such a heavy album, this more organic closing section allows things to come to a gentle and thoughtful close. Eluveitie have become masters of opening and closing albums perfectly, and this is another example of how to bookend an album with a dense atmosphere. Overall, Ategnatos is another strong album from the Swiss band who have really built on the foundations made on their last two metal outings. While this is essentially more of the same, it is an album that really cements the band's new line-up in place, and showcases all of the nine band members at their very best.

The album was released on 5th April 2019 via Nuclear Blast Records. Below is the band's promotional video for Ategnatos.