Eluveitie have long been pioneers in blending melodic death metal ferocity with ancient Celtic folk soul, and their new album Ànv arrives after the longest gap in their discography – a six-year wait since 2019’s Ategnatos. In the interim, fans have kept songs like Inis Mona and King as anthems of the genre, wondering how the Swiss ensemble would evolve next. With Ànv, Eluveitie reemerge in 2025 not only to meet those high expectations, but to challenge them, delivering a record that bridges the band’s storied past and an ambitious present in surprising ways.
This ninth studio effort finds Eluveitie drawing deep from Celtic mythology and linguistics, grounding the album’s concept in ancient texts and primal themes. The title Ànv itself hints at arcane origins – reportedly derived from millennia-old inscriptions – setting a mystical tone even before a note is played. It’s also the band’s first album with new violinist Lea-Sophie Fischer, whose arrival follows the departure of long-time fiddle players and brings a fresh spark to the folk instrumentation. After such a prolonged absence, Ànv carries the weight of both tradition and transformation, balancing the band’s hallmark sound with subtle new elements honed over the six-year break.
Right from the outset, the album showcases Eluveitie’s trademark blend of styles in grand fashion. Opener Emerge is a moody instrumental prelude that swells with cinematic atmosphere – whistles, percussion, and distant chants building anticipation as if heralding a tribal gathering. It segues into Taranoías, which wastes no time unleashing swift melodic death metal riffs intertwined with skirling bagpipes and hurdy-gurdy drones. These early moments reestablish the band’s energy effortlessly: thunderous double-bass drumming and roaring harsh vocals from frontman Chrigel Glanzmann meet lively folk melodies head-on. The effect is both familiar and invigorating – a reminder that even after years away, Eluveitie can still ignite a surge of adrenaline and Celtic spirit simultaneously.
By the time The Prodigal Ones arrives as the third track, it’s clear Ànv is not content to merely repeat old formulas. The Prodigal Ones stands out as an early highlight, marrying the band’s heaviness and melodicism in expert measure. The verses hit hard with chugging guitars and Chrigel Glanzmann’s growls, harking back to the intensity of albums like Helvetios, while the chorus opens up into a sweeping hook carried by Fabienne Erni’s powerful clean vocals. Her voice soars above a backdrop of violin and flute, giving the song a rousing, anthemic quality. The track feels like a mission statement for the album – modern and accessible in its catchiness, yet rooted in the earthy drive of folk metal. It’s the kind of song that can get a festival crowd moshing one moment and singing along the next, embodying the dual nature of Eluveitie’s music.
Following that burst of intensity, the title track Ànv provides a dramatic shift in mood. In contrast to the breakneck pace earlier, Ànv unfolds more slowly and pensively, revealing a different facet of the band’s songwriting. It begins with a haunting melody – perhaps drawn from an ancient Celtic motif – played on fiddle and harp, with Fabienne Erni’s emotive voice taking center stage. Her delivery here is delicate and haunting, almost spiritual in tone, as if she’s channeling the voices of the past. As the song builds, layers of guitar and drums join in, but the emphasis remains on atmosphere and emotional resonance rather than sheer force. The result is an hauntingly beautiful mid-album centerpiece that highlights Eluveitie’s talent for dynamic contrast. Without ever lapsing into schmaltz, Ànv (the song) manages to feel both epic and intimate – a brief respite of introspection amid the album’s wild hunt.
Of course, Ànv doesn’t linger in balladry for too long. Immediately after the title track’s last notes fade, Premonitioncomes roaring in to jolt the listener back to headbanging mode. This track is one of the album’s heaviest offerings: it opens with battering drums and a fierce riff, while Chrigel Glanzmann unleashes some of his most aggressive growls on the record. The intensity harkens to the melodeath influences of bands like Arch Enemy, yet Eluveitie infuse their own identity by soon weaving in whimsical flute lines and chants beneath the storm of guitars. Premonition barrels forward with formidable power, but also demonstrates the band’s knack for dynamics – partway through, it transitions into a soaring chorus where Fabienne Erni joins in with clean harmonies that add a touch of grandeur. This balance of ferocity and melody keeps Premonition engaging throughout, showcasing how Eluveitie can still deliver a punch in the gut while gilding it with Celtic flair.
Amid these adrenaline-fueled tracks, Ànv also sprinkles in moments of atmospheric storytelling that enrich its conceptual tapestry. Awen, for instance, is a song that practically radiates mystical significance – and indeed its name refers to poetic inspiration in Celtic lore. One of the catchiest numbers on the album, Awen rides on a mid-tempo groove and a richly melodic refrain that sticks in the mind instantly. There’s a joyous lilt to the whistles and uillean pipes on this track, dancing alongside the guitars rather than merely overlaying them. It’s easy to imagine medieval revelers and modern metalheads alike linking arms to its rhythm. What’s impressive is how Eluveitie make such a tuneful, even pop-tinged chorus still feel authentic to their roots; much of that comes down to the earnest delivery and the organic interweaving of traditional instruments. When Chrigel Glanzmann noted that Awen hearkens back to the spirit of the band’s older material, one can hear what he meant – the chorus carries a solemn, ancient weight beneath its catchiness, evoking classic songs from the band’s early days. It’s a fine example of Ànv bridging eras: simultaneously one of the most modern-sounding tracks and one that reaches deepest into the past.
To heighten the album’s narrative flow, Eluveitie insert an interlude in the form of Anamcara. This brief acoustic piece arrives after Awen, serving as a palette cleanser and a moment of reflection. Gentle guitars and possibly a spoken-word passage or chanted vocals (true to its title, which means “soul friend” in old Gaelic) imbue Anamcara with a ritualistic feel. It’s a cinematic break that allows listeners to catch their breath and visualize the mythic storyline unfolding. While some impatient metal fans might skip such interludes, its inclusion is purposeful – it deepens the immersive atmosphere of Ànv, making the heavier songs around it hit even harder. By the time Anamcara fades out, the stage is set for the album’s final act, and one can almost sense the mists parting for what comes next.
The last third of Ànv delivers some of its strongest punches, ensuring the record finishes on a high note. The Harvest lives up to its ominous name with a darker, riff-driven approach. Here the band foregoes clean vocals entirely, letting Chrigel Glanzmann’s snarls and the twin guitars of Rafael Salzmann and Jonas Wolf drive the point home. The folk instruments take on a supporting role, coloring the background with eerie ambiance while the metal core of the band goes full throttle. The absence of a sweet chorus on The Harvest actually makes it a standout – it’s unapologetically heavy and old-school, likely to satisfy fans who crave the aggressive side of Eluveitie. In contrast, Memories of Innocence that follows is a bright burst of folk metal bliss. This song is like a lively Celtic dance distilled into metal form: frantic fiddle tunes and flute melodies hop merrily over galloping drums, and Fabienne Erni’s voice here is at its most lilting and playful. The track’s refrain is so upbeat and infectious that it practically compels you to stomp and clap along. Memories of Innocence is easily one of the most fun moments on Ànv, celebrating the folk half of Eluveitie’s identity with unapologetic glee. It’s the kind of song that reminds listeners why folk metal can be such a joyous genre when done right.
Rounding out the album, All Is One and Aeon of the Crescent Moon continue the journey with a mix of strength and subtlety. All Is One strikes an anthemic tone, its lyrics seemingly affirming unity – a theme that resonates with the album’s bridging of ancient and modern. Musically, it leans on a grand, mid-paced chorus that lets Fabienne Erni belt out some of her most soaring notes alongside layered backing chants. There’s a almost symphonic metal flair to this track’s polished chorus, making it sound huge and festival-ready, though it’s also one of the more straightforward songs on the record. Aeon of the Crescent Moon, on the other hand, might be the sleeper gem of the album. It starts with a moody intro where Lea-Sophie Fischer’s violin takes the spotlight, drawing a beautiful, moonlit melody that instantly captivates. When the full band kicks in, the song toggles between heavy verses and atmospheric passages, giving it an epic, journey-like quality. The interplay of blistering guitar work and fiddle in Aeon of the Crescent Moon is especially noteworthy – at one point, a violin solo dances over a fierce double-kick pattern, creating a spine-tingling fusion of finesse and fury. Although the track is complex and richly arranged, it doesn’t lose sight of melody, making it rewarding to revisit and unpack new details with each listen.
Finally, Ànv concludes with The Prophecy, a fittingly grand finale. This closing track encapsulates the album’s spirit of convergence – it’s equal parts brooding and uplifting, starting off with somber tones and gradually building into a climactic swell. The Prophecy sees harsh and clean vocals intertwine in a call-and-response, almost choral manner, as if narrating the final chapter of an epic tale. One can hear Fabienne Erni’s voice layered ethereally behind Chrigel Glanzmann’s growls, adding a sense of scale and drama. Musically, the band pulls out all the stops here: pounding tribal drums echo beneath a wall of guitars, while the bagpipes and whistles quote recurring musical motifs from earlier songs, tying the narrative together. By the song’s end – which might feature a goosebump-raising climax of group vocals or a final mournful violin cry – the listener is left with a satisfying sense of closure. As the last notes of The Prophecy drift away, it feels as though Ànv has taken us on a complete journey, from the mists of ancient lore to the fires of a modern stage, and back again.
In summary, Ànv is a multifaceted album that finds Eluveitie both playing to their strengths and venturing into new territory. Its greatest strength lies in how effortlessly the band merges two worlds: the modern melodic death metal polish (with crisp production and tight musicianship) and the rough-hewn charm of Celtic folk music. The performances are top-notch – Fabienne Erni delivers her most versatile vocal work to date, and Chrigel Glanzmann anchors the chaos with his distinctive rasps and multi-instrumental prowess. Tracks like The Prodigal Ones, Awen, and Memories of Innocenceshowcase the band firing on all cylinders, marrying massive hooks with authentic folk underpinnings. The album’s few weaknesses come from the same place as its boldness: occasionally, the songwriting leans a bit too far into glossy, crowd-pleasing territory, and one or two choruses feel somewhat predictable in their epic, sing-along style. Longtime folk metal purists might yearn for more of the raw, unfiltered grit that characterized Eluveitie’s earlier records, as Ànv is undeniably a very polished affair. Yet, that polish also allows the intricate layers of instrumentation to shine brightly, and the album never lacks heart.
After living with Ànv, the songs that linger most strongly are the ones where Eluveitie’s dual personality truly thrives. Personal favorites include The Prodigal Ones (for its perfect synthesis of fury and melody), Awen (for its infectious folk chorus and spiritual atmosphere), and Memories of Innocence (for the sheer joy it exudes). These tracks, alongside others, make Ànv an album that offers both immediate thrills and deeper rewards on repeat listens. It may not reinvent the folk metal wheel, but it certainly refines and reaffirms what Eluveitie does best while also pushing their melodic ambitions a step further. All told, Ànv was well worth the six-year wait. Balancing its few minor missteps against its numerous triumphs, I’d give Ànv a confident 8/10, backed up by the band’s unwavering passion and the unique niche they continue to carve at the intersection of harp strings and headbanging. Even after over two decades, Eluveitie show they can still surprise and delight – Ànv stands as a rousing celebration of their journey so far and a promising sign of things to come.
Tracklist:
Emerge
Taranoías
The Prodigal Ones
Ànv
Premonition
Awen
Anamcara
The Harvest
Memories of Innocence
All Is One
Aeon of the Crescent Moon
The Prophecy
ELUVEITIE are:
Chrigel Glanzmann – vocals, whistles, mandola, bagpipes, bodhran
Fabienne Erni – vocals, celtic harp, mandola
Alain Ackermann – drums
Rafael Salzmann – guitars
Jonas Wolf – guitars
Kay Brem – bass
Matteo Sisti – whistles, bagpipes, mandola
Lea-Sophie Fischer – fiddle
EUROPEAN BLOOD DYNASTY 2025 TOUR
ARCH ENEMY W/ SPECIAL GUESTS AMORPHIS / ELUVEITIE & GATECREEPER
10.10.2025 Schleyerhalle, Stuttgart
11.10.2025 Jahrhunderthalle, Frankfurt am Maiz
12.10.2025 Zenith, Munich
14.10.2025 Barba Negra, Budapest
15.10.2025 Gasometer, Vienna
17.10.2025 Columbiahalle, Berlin
18.10.2025 Sportovni Hala Fortuna, Prague
19.10.2025 PreZero Arena Gliwice, Gliwice
21.10.2025 The Hall, Zurich
22.10.2025 Alcatraz, Milan
23.10.2025 Radiant Bellevue, Lyon
25.10.2025 Vistalegre, Madrid
27.10.2025 Zenith, Paris
28.10.2025 AFAS Live, Amsterdam
30.10.2025 Civic Hall, Wolverhampton
31.10.2025 O2 Apollo, Manchester
01.11.2025 Eventim Apollo, London
03.11.2025 Rockhal, Esch sur Alzette
04.11.2025 Ancienne Belgique, Brussels
05.11.2025 Haus Auensee, Leipzig
07.11.2025 Partille Arena, Gothenburg
08.11.2025 Annexet, Stockholm
10.11.2025 Ice Hall, Helsinki
12.11.2025 Sentrum Scene, Oslo
13.11.2025 Poolen, Copenhagen
14.11.2025 Swiss Life Hall, Hannover
15.11.2025 Mitsubishi Electric Hall, Duesseldorf
ELUVEITIE online:
Website https://www.eluveitie.ch/
Facebook https://www.facebook.com/eluveitie
Instagram https://www.instagram.com/eluveitie_official/
Twitter https://twitter.com/eluveitie
