Artist: Eluveitie
Title: Helvetios
Type: Album
Label: Nuclear Blast

How can anyone not enjoy Eluveitie? Actually, I know someone who doesn’t because they don’t like bagpipes. There’s also a view that their previous album “Everything Remains as It Never Was” (2010) was nothing but a uncoordinated reworking of all the styles they feature. Here’s another view: ever since Eluveitie came to prominence a few years ago with “Spirit” (2006) and the even more excellent “Slania” (2008), they have brought something new and refreshing to metal. The whole thing is a little bizarre. This is a group from Switzerland playing lively Celtic Metal to dance to, replete with Metal instruments, folk songs, hurdy-gurdys, fiddles and whistles and yes, bagpipes. I think to be exact it’s a gaita. Mediaeval instruments are de rigueur. The prologue of the new album “Helvetios” features a (presumably) hairy Scotsman of the sort you’d expect to be advertising porridge or Irn Bru. This needs further exploration …

The party’s on! From the dark mists emerges the title track “Helvetios”. Once again the band launches into Metal Riverdance. The familiar pumping Metal rhythm is there. The fiddle and flute get a good airing here and throughout the album, which comprises a generous 17 tracks. It’s well in the comfort zone of those who know Eluveitie but there’s plenty of interest, energy and enjoyment. Having twirled to “Helvetios”, colourful fiddling and pipes sound the warning as a typically memorable folk chorus develops, conjuring up the image of warriors around the camp in the woods. Constant motion, epic tones and frantic fiddling mix with Metal fury and imperious beats, and like an Eluveitie live performance, tracks like “Santonian Shores”, “Neverland”, “Havoc” and “Uxellodunoh” give us the customary merry mayhem. But it’s more than that. It’s highlight after highlight.

“The Siege” is harsher, but still like a Folk version of Death/Thrash Metal with fiddles. Many tracks are more emotionally charged but this album never stops moving. It is also full of delicacy and subtlety. We break away from the frantic fiddling for a moment to enjoy “Scorched Earth”, a spine-chilling, majestic and typically melancholic Gaelic solo. The sound of the flute enters and conveys the image of a lonely man standing alongside a misty loch. It’s all change then and back to the highly charged Folk Metal mix for “Meet The Enemy”. I’ve never heard the dulcimer played so fast as here. But this is Eluveitie. “Hope” is pure Planxty with its soothing whistle and bagpipe strains. Perhaps most striking compared to previous works is the use of the female vocals on “A Rose for Epona” and “Alesia”. On “Alesia” the soulful vocals duet with Death growls, a choir and fiddling to create a track full of feeling. “A Rose for Epona” is rousing and epic. Although heavy, the haunting flute and floating female vocals create a calming atmosphere. Even the growls which accompany it contribute to the air of tranquillity. Like a gourmet dish, this album consists of contrasting flavours but it all adds up to a magical blend.

Eluveitie have recognised the formula which works. What sticks with me after I’ve listened to “Helvetios” are the fiddles and whistles, and images of dancing in the woods. Much of it is so mobile that it’s a recipe for a stiff neck and lots of exercise, and accordingly lends itself to live performance. It is smile-inducing and brought me much pleasure for both its boundless energy and its subtle and haunting nature. The mix of tracks and movement within the tracks are impressive. “Helvetios” is Eluveitie’s most exciting album to date.

(9/10 Andrew Doherty)

www.eluveitie.ch
www.myspace.com/eluveitie