Eluveitie: Ategnatos (Nuclear Blast) [Rich]
Ategnatos is the eighth album by Swiss folk metallers Eluveitie and is one of the strongest albums by the band in years. Eluveitie have had some major upheavals in the past few years with no less than six members of the band being replaced. Whilst acoustic album Evocation II - Pantheon was the first album with this new line up Ategnatos is the first proper album by this line up and the band sound positively invigorated. Previous albums Helvetios and Origins whilst good did see the band sounding maybe too comfortable and going through the motions so it’s great to hear that the big dose of new blood into the band has meant that the band plays with an intensity and passion not heard since the Slania and Everything Remains As It Never Was albums. The big change in Eluveitie is the introduction of Fabienne Erni on co-vocals and harp. Her vocals have been brought to the forefront on Ategnatos and it’s clear to see why as she has an absolutely incredible voice which truly brings these songs to life. Founding member Chrigel Glanzmann also puts in an admiral performance as always with his harsh vocals and whistle and mandola playing.
The style Eluveitie have become accustomed to has not changed with their mix of celtic folk music and Gothenburg style melodic death metal. Whilst the riffs are quite basic and formulaic (a negative factor on previous albums) the folk instruments and melodies really make this album and that’s where Eluveitie always have and continue to stand out as a band with their use of traditional folk instruments rather than keyboards. It adds a massive degree of authenticity to the band and also makes their live performances always well worth a watch. Ategnatos is a fine entry in the Eluveitie discography and possible the strongest album the band have done since Slania. Like many of the previous Eluveitie albums it is maybe a bit too long with a few too many songs meaning a chunk of the album is quite forgettable but where the album is at its strongest (such as with songs such as Ambiramus, Rebirth and the title track) it more than makes up for it. 8/10
The style Eluveitie have become accustomed to has not changed with their mix of celtic folk music and Gothenburg style melodic death metal. Whilst the riffs are quite basic and formulaic (a negative factor on previous albums) the folk instruments and melodies really make this album and that’s where Eluveitie always have and continue to stand out as a band with their use of traditional folk instruments rather than keyboards. It adds a massive degree of authenticity to the band and also makes their live performances always well worth a watch. Ategnatos is a fine entry in the Eluveitie discography and possible the strongest album the band have done since Slania. Like many of the previous Eluveitie albums it is maybe a bit too long with a few too many songs meaning a chunk of the album is quite forgettable but where the album is at its strongest (such as with songs such as Ambiramus, Rebirth and the title track) it more than makes up for it. 8/10
Månegarm: Fornaldarsagor (Napalm Records) [Rich]
Månegarm have always been one of the underdogs in folk metal in my opinion which I have always felt is a shame as they are one of the better bands in the genre in my opinion with a style that takes all the different facets of the folk metal genre and combine them to make something absolutely glorious. Fornaldarsagor which is the ninth album by the band is a testament to their abilities and is another strong album in the band's discography. Forming in Sweden back in 1995, Månegarm had a sound that combined folk metal with black metal aesthetics on their early albums before moving into a more upbeat rousing sound reminiscent of bands such as Ensiferum on later albums. With their previous self titled album in 2015 some of the black metal influences started creeping back into their sound and that has continued on Fornaldarsagor. The album is a mixing pot of all the tropes of folk metal being both rousing and relentless with some traditional folk metal instrumentation and big buoyant melodies underpinned by the aggressive black metal undertones.
This effective mix is most evident on opening track Sveablotet which immediately charges at you like an army on horseback hurtling into battle before the chorus kicks in and the fury is replaced by glory. It’s an approach used well throughout the album though the band does mix it up such as dramatic mid paced Spjutbädden and the acoustic leaning Dödskvädet. Frontman Erik Grawsio puts in a fine performance employing a variation of vocals styles from black metal shrieks, death metal growls and impressive clean vocals. Fornaldarsagor is a fine folk metal album which whilst not adding anything new to the genre combines the best bits from the genre into one nice package. If you enjoy folk metal and have never heard Månegarm then Fornaldarsagor is a fine place to start. 8/10
This effective mix is most evident on opening track Sveablotet which immediately charges at you like an army on horseback hurtling into battle before the chorus kicks in and the fury is replaced by glory. It’s an approach used well throughout the album though the band does mix it up such as dramatic mid paced Spjutbädden and the acoustic leaning Dödskvädet. Frontman Erik Grawsio puts in a fine performance employing a variation of vocals styles from black metal shrieks, death metal growls and impressive clean vocals. Fornaldarsagor is a fine folk metal album which whilst not adding anything new to the genre combines the best bits from the genre into one nice package. If you enjoy folk metal and have never heard Månegarm then Fornaldarsagor is a fine place to start. 8/10
Forever belong in the always inoffensive genre of AOR. I call it inoffensive because while it lacks the harshness of metal, the rawness of punk, and the ambition of prog, it’s obsessively focussed on strong hooks, clean melodies, and smooth production. Ironically, for a genre that’s supposed to be ‘album orientated’, it’s more recognizable for its singles, than anything else. In fact, I would go so far as to say that we’ve all enjoyed an AOR song some point. Don’t believe me? More Than A Feeling, It’s My Life, Africa – they’re all examples of anthems that could be considered part of the genre. They’re the sort of songs a DJ can slap on at a nightclub and be certain of a positive reaction. For exactly that reason though, AOR albums don’t lend wonderfully to extensive analysis, as evidenced by the fact that I have thus far just focussed on the style, stalling talking about the actual content, of which there is very little of interest.
Anywhere You’ve Gone opens on a distinctive chorus, while the guitars take on that crunchy, yet clean effect, typically associated with soft rock acts. Call Out My Name and Rosebud pay homage to the ’80s, introducing synthesizers into the mix and adopting a dance-laden beat. Got Me and Train have just enough grit and attitude to perhaps make a nod towards harder influences, while still remaining very clean cut and accessible. Whatsmore, that’s very much how the album continues throughout its second half. Everything gives the impression of having some grit, personality, or meaning, without committing to those notions in a passionate or unique way. Don’t get me wrong, there’s nothing necessarily wrong with that. It’s living up to the expectations of a genre, which is itself, based on being generic and predictable. These musicians know how to play and write a hook, appealing to the baser instincts of those for whom music is purely about singing and dancing, and doing so well. We end on a mandatory power ballad, ensuring the self-titled record finishes on a grandiose and sentimental note.
While my thoughts on Forever are fairly lukewarm, I fail to see the relevance of them, in 2019. As I pointed out earlier, AOR is still enjoyed to some extent, yet only in a ‘classics’ context. I don’t see anybody pining for new music by Toto or Boston. Many might not even recognize the names of those bands. A little confession, until recently I thought that those letters stood for Adult Orientated Rock. However, upon researching the genre, it appears I’m not the only one to have made that mistake. Numerous bloggers and websites are using the words ‘adult-oriented’. Perhaps part of the reason for that is how much the existence of this genre relies on reminiscence. Modern music is preoccupied with very different trends. Although you can argue that an argumentum ad populem is unfair, the outdated nature makes Forever seem that little bit more stale and forgettable 4/10
Abrahma: In Time For The Last Rays Of Light (Small Stone Records) [Alex]
Abrahma hone an incredibly morose and blackened sound, which lies somewhere between the hypnotism of psychedelic metal and the unpredictability of prog. Now on their third album, one can only hope that they expand upon the darkness at their core, to create a more rich and vivacious sound. In Time For The Last Rays Of Light comprehends that you can utilize relatively simple construction, while still creating a towering, dramatic sound. While not at all slickly produced, it would almost be a shame if it was, as the deliberate use of distortion and unruly transitions, lend to the chaotic charm of the project. A thunderous, distortion-laden guitar riff brings Lost Forever to a gigantic start, the clean melodic lead parts, lending a bleakly beautiful contrast. After continuing on this lumbering note for an effective amount of time, sadness gives way to anger, the instruments growing evermore thick with reverberation and the vocals growing steadily strained. Staying formless yet salient, we continue down this mysterious and stern path. Lucidly Adrift wallows in being disquietingly frustrated and unpredictable, frenetically swapping between seconds of turmoil and bliss.
Although the resulting toll on the listener’s mental state may be one of confusion, it’s also one of seduction, as we find ourselves overcome by the incongruity on show. Eclipse Of The Sane Parts 1 and 2, are aptly titled, remaining formless yet foreboding, bearing a quality as sinister as the echoes which resound off the walls of an abandoned prison, or asylum. Last Epistle is arguably the most psychedelia influenced moment, the liquescent and dreamlike quality, forcing us to search our own imagination, as the song takes on multiple forms and shapes throughout its duration. Finishing on the elaborately titled There Bears The Fruit Of Deceit, we are shown out on a melancholic note, as volatile and erratic as every moment, the religious connotations in the lyrics rounding off the mysticism cultivated from start to finish. Brooding enough to satisfy a niche, and adequately hook laden, there lies an amiability within Abrahma which can appeal to folks across the broad spectrum of metal and hard rock. The rough and dim qualities may dissuade some – they took me back on first listen – yet they are easily to warm to, once you realise their effectiveness in melding a unique identity. 7/10
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