After six years of silence Eluveitie release their new album named Ànv. Well, it wasn’t complete silence – there were three singles, live album, collaboration with Faun and “The Call Of The Mountains” in russian with Masha from Arkona. It is still unclear why did they released the last one; I can understand the logic but the purpose is unknown so far. Anyway, it’s about the new album after all.
When I saw the promo photos for the first time, I thought that Eluveitie changed the line-up again, to be honest but I was wrong: the only new member here is Lea-Sophia Fischer, who plays violin, fiddle and hurdy-gurdy. However, it would better be the new line-up because that would explain a lot of things happen to the music on this album. “Over the years, Eluveitie has undergone line-up changes […] Despite these changes, the band’s essence and soul remains untouched”, states the press-release and here we already have a big problem. Technically, all the inherent elements are here and there’s plenty of it: crushing riffs and stunning drumming, harsh vocals, lots of folk and Celtic melodies played on folk instruments – everything expected from the band is present except for one thing: the magic of Eluveitie. The subtle element that make it all work. Previous albums have it but not Ànv. And before the hardcore fans anathematize me, I’ll try to explain myself.
After the atmospheric instrumental intro “Emerge”, “Taranoías” crushing you with death metal brutality, shaded with sounds of bagpipe and hurdy-gurdy. Female vocals enter in chorus, contrasting with Chrigel Glanzmann’s growls and snarling. That’s quite impressive but at the same time it was totally expected from the band. “The Prodigal Ones” also delights with the catchy intro and huge riff, some melodic guitar joins later and, hey, that’s the Eluveitie I wanted to hear but then comes the chorus, vocalist Fabienne Emi starts to sing and some questions arise.
I hasten to say that Fabienne knows to sing and she sings good: two previous studio albums, live albums and countless YouTube videos proof it easily. Moreover, I saw Eluveitie in 2018 and Fabienne sang brilliantly. But something happened on the new album and she sounds much poppier and weaker than before like in “Ànv” she hits the high notes but it sounds like she’s walking on the edge and you freeze so she will not fall instead of fully embrace the tragedy of the song. “Awen”, despite the riffs, the melody and the claim of Chrigel that this song “is musically perhaps one of the album’s catchiest songs” is not catchy at all and you forget about it right after it ends. And in anthemic “All Is One” the vocals go to such deep pop territories sometimes you have a feeling as if some Dua Lipa (or whoever is trendy now) got the microphone. Nevertheless, one more time, Fabienne knows how to sing and knows it well so it’s not about her and I honestly have no clue what was that and why is it sounds like this. Oh, there is also a short atmospheric track “Anamcara” between “Awen” and “The Harvest”, where Fabienne recites; a short break between the songs which wasn’t so needed, to tell the truth.
However, “Premonition” is really good, with hurricane melodic death riff, melodic chorus and some Celtic melodies. “The Harvest” is made by the same pattern but focuses more on might than the melody; the folk tune in the end dilutes the brutality but not ruining the song. Also, I want to mention “Memories Of Innocence”, beautiful and turnt up instrumental (after several times it starts to remind some computer games’ music).
“Aeon of the Crescent Moon” is my personal heartache: it starts slowly and tragically, with fiddle and flute and then comes nearly metalcore riff with ominous vocals. Later some folk instruments are back and here you have a feeling the band is divided into “folk” and “metal” parts, where each one tries to drown out the opponent. The “magic” I mentioned in the beginning is completely absent here. It seems like the song is made of some “elements inherent to the genre”.
The ending “The Prophecy”, not so fast paced, with some male chanting and grim atmosphere doesn’t remedy the situation, even being not the worst song on the album.
Although, you know, I can somehow live with all I mentioned above, it’s all about musical taste in the end. But the biggest problem of Ànv is there’s nothing, even the smallest detail, which will be stuck in your head or make you want to listen to it once again. After three or four times I’ve listened to it I can’t remember not a whole song but even some melody or hook. And that’s tragic.
Ànv will be released on April, 25th via Nuclear Blast.
If you really would like to support Antichrist, you can just Share our article.
You can also support Antichrist by sending a couple bucks to cover some webhosting expenses. =>> PayPal
