r/folkmetal • u/Gaedhael • 12h ago
Celtic Eluveitie's Traditional Influences - Late 2026 Edition.
Hi there!
I'm here with a new and somewhat revised and updated version of Eluvetie's traditional influences. Still many gaps but some have been filled up. My previous post can be found here.
In case you've absolutely no idea what this is about, I'll provide an explanation here. Eluveitie, one of the biggest folk metal bands on the planet, are heavily influenced by the traditional musical styles of Ireland, Scotland and Brittany, the so-called Celtic nations. Now this is unsurprising considering the band's, everything. But, what folks don't really realise, which tbf the band aren't always the most transparent about, is that the band regularly adapt existing tunes from those regions (and more) and incorporate them into their songs. To highlight some more tangible examples before we actually get into the meat and potatoes of this analysis, take one of their most iconic songs, Inis Mona you may find this song to sound quite familiar. That is the Breton sailor song Tri Martolod. Another example, King, again you may find this quite familiar. That is the Irish Reel called Master Crowley's.
So, if you checked out the embedded links, you'll see that Elu like to take a traditional tune, and essentially transplant it into their own music, and they do this, A LOT! like seriously, A LOT. Most of their songs are like this, not that I'm necessarily complaining, and while I've grown to have somewhat complex feelings about the practice I won't lie, I also credit this with helping me get into traditional music, and I think this may be useful for those wanting to learn Eluveitie songs as you get to learn the source tune which may have better written materials (for those who like to read tablature or other notational systems for whistle).
So with all this preamble out of the way, I now present you the most up to date listing of Eluveitie's use of traditional tunes as of 17/10/26:
Ven:
Dveritu Agage D'bitu- Breton An Dro, An anglezed bonetou ruz. Something we’ll come and see with Eluveitie is that they at times re-use tunes, in this case this same tune was used in the songs Helvetios and Ne Regv Na
Uis Elveti- primary melody is Y'a Dix Marins Sur Mer a Breton sailor song which is a Hanter Dro (Type of Breton dance.
The instrumental part in the middle is taken from an unnamed Breton tune, presented as a Gavotte but it is actually a ridée or laridé which is a type or Breton folk dance, separate from the better known An Dros and Hanter Dros. On The Session it can be found as Gavotte Three-two or Laridé a Six Temp There is a notable version by Irish folk band Lúnasa, featured on the track Eanáir off their 1997 album Lúnasa, it starts from around 02:08.
The choir moments of the song, I suspect may have their own traditional tune source. There’s a Breton Hanter Dro called Echu Eo Ar Mare. It might be the B part, that resembles the melody of that section of the song, I think. The band didn’t make any statement I recall saying anything other than Dix Marins and Gavotte but idk.
Oro- There are two differing versions of this song depending on whether you’re listening to the original Ven or the 2012 remake. In both cases they are ultimately original compositions by the band.
For the original version, the first part is improvised; second part was composed by Dide Mafurt, the then hurdy gurdy player of the band who also played bagpipes on that song. Dide would use so-called Helvetic bagpipes which are an old, mostly lost set of traditional Swiss bagpipes. The 2012 version was written and performed by Chrigel Glanzmann using Galician bagpipes which are Elu’s go-to bagpipe.
Lament- intro is a band composition (written by Chrigel I think), most of the song is a band composition with exception to I think the bridge which is said to be an Irish reel, although thus far no-one has been able to identify this reel.
Druid- The song is primarily an adaptation of Caisleán an Óir (Castle of Gold) an irish hornpipe composed by fiddle player Junior Crehan.
While classed as a Hornpipe, Caisleán an Óir is perhaps a little odd for a hornpipe, I know my uilleann pipe teacher described it as more of a slow reel. Hornpipes and Reels are both in the same timing 4/4 but are otherwise distinct from each other. Reels are usually fast, lively tunes whereas hornpipes are often a little slower with usually the first and third notes in a bar being played slightly longer than the second or fourth notes. This doesn’t seem to be how Caisleán is played, although there are various ways to play it, with there even being a recording of it being performed as an air. Crehan himself did seem to play this as a hornpipe.
The choir vocals and bridge are from an old Irish harping tune popularly called (O’) Carolan’s Dream but also as Molly MacAlpine which would be one of the oldest Irish compositions.
While Irish tunes having varied names is nothing new, there is a little more to this situation. As I understand it, the tune is popularly called (O’) Carolan’s Dream with credit for the composition going to the 17/18th century Irish harper Turlough O’Carolan. The reality is that the tune is older than O’Carolan with it having been composed by William Connelan who called it Molly MacAlpine. The reason for the Carolan connection is likely due to Carolan’s own fondness for the tune. Carolan, an accomplished and celebrated composer in his own right, was said to have loved this tune more than any of his own compositions (which is saying something considering his body of work)
This tune is also a little messy to classify, I suppose because of its age, it doesn’t neatly fit into the typical classes of reels, jigs, hornpipes, airs etc. I have seen this tune classed as an air or a barndance, although I be a little wary of saying for sure if they’re fitting terms. Most Irish music goes back to the 19th century or so, Carolan’s tunes are not only older than that, but also heavily influenced by contemporary Baroque music, so they usually get put into a category of their own (Carolans or Planxties), and if Connellan is older still than Carolan, the same would likely apply.
Jezaig- Breton air called Jizaique composed by Gilles le Bigot who played for Galorn in the 1970s. There is a notable uilleann pipe arrangement by Paddy Keenan from 1983, but it sounds a little further from Elu’s version. Lúnasa also have their own arrangement but that’s arguably closer to Keenan’s than Elu’s, so I’d say they were mainly taking it from the Galorn version.
Divico- The intro and chorus is an Irish reel called Man of the house, the other tune beginning around 02:24 is taken from the Scottish Jacobite song The Haughs of Crommdale.
Spirit:
Spirit- Adapted from a Breton Hanter Dro of an unknown name, I have found what appears to be an example of the source tune. It can be found on youtube as an upload by one Alex Kehler
Uis Elveti- Y'a Dix Marins Sur Mer, Laridé a Six Temps, plus the possible but not certain Echu Eo Ar Mare Hanter Dro. It’s not really any different to the original version on Ven, only really in the arrangements (accordions used instead of hurdy gurdy)
Your Gaulish War- Adapted from the tune Rouges and Rascals by Irish uilleann piper Eoin Duignan. It’s found on his album Ancient Rite. Duignan is credited on the album’s credits list as composing the whistles for the song.
Of Fire Wind and Wisdom- band composition (Chrigel's composition)
Aidu- band composition (Chrigel wrote it I think)
The Song of Life- intro is band composition, chorus is Tam Lin a Scottish reel by Davey Arthur. This reel is also known as The Glasgow Reel.
Tegernako- We have at least two Irish jigs adapted here, with an at present mystery third piece potentially. What we know is this, the main melody is Kid on the Mountain, which is a slip jig, ending part is Morrison's Jig which is a single jig.
In between these two Irish jigs, there is another melody. Likely based on something traditional but not clear what it is. One source I had suggested it resembled famous Irish slip jig Rocky Road to Dublin if rearranged for a C whistle, what I can tell is it is in jig-like timing, I’m not too sure if it’s in 6/8 or 12/8, which in such case would be a bit off for a slip-jig to be the source since they’re usually in 9/8.
Siraxta- This song is mainly an adaptation of Thaney by Malinky, a Scottish folk band, it was written by their singer Katherine Polwart I believe. This is the melody that was sung by Elu’s then Hurdy-Gurdy player Sarah. The whistle melodies were band compositions.
Finally, the band mentioned use of a tune I believe was called a Beardance but I don’t recall any specifics as to when or where in the song it was used. I suspect it was used in the section beginning around 03:27 or so with the melody played by Chrigel on the mandola but again this is my own personal speculation. I have not been able to find thus far, any song featuring that name that resembles what’s in the song, but I’ll have to look further I suppose.
The Dance of Victory- This is one of the band’s most complex songs to break down, owing to the number of tunes used, but also the way they are incorporated into the song. I’ll try to present it in as straightforward a manner as possible, so bear with me.
For the most part the intro is a blend of two Irish reels Dunmore Lasses and Catharsis. Dunmore is unknown composer but associated with flute player Tom Morrison, Catharsis was composed by Amy Cann. The A part of that melody aligns with the A part of Dunmore Lasses with the B part being derived from the B part of Catharsis.
The melody from around 3:37-4:27 appears to be the Breton Rond De Loudéac.
One may see Rond De Loudéac presented as a name for a tune, I should clarify that Rond De Loudéac (or Rond Loudia in Breton) is not necessarily the name of any tune, rather it is a type of Breton folk dance, so that name would be used for a variety of melodies. This speaks to a bit of an issue that Chirgel pointed out himself with regards to Breton music. In part due to it being an aural tradition, many songs either have their names lost or forgotten or just had no names in general. This is why there can be difficulty in identifying specific Breton tunes other than classifying them by their associated dances (An Dro, Hanter Dro, Rond De Loudéac etc.) While this is a Breton tune, there is a notable arrangement by the Irish band Lúnasa which was played more like a reel, than a proper Rond (they’re both in 4/4 timing but are played differently, an AnDro is also in 4/4).
The band have claimed that used 2 unnamed Hanter Dros in the song plus Chrigel claims to have written a part of the song.
This likely is what the chorus and pre-chorus consist of in some capacity. There is a distinct flute melody in the pre-chorus (01:30-01:43), I wonder if this is the Chrigel composition. From there I identify at least 3 different melodies in the chorus itself, 01:44-01:55, 01:56-02:12, 02:13-02:28. The second chorus uses the first two melodies but omits the third to instead lead into the sort of “breakdown” that uses Rond De Loudéac. I wonder if those melodies are the unnamed Hanter Dros, but perhaps someone more knowledgeable on Breton music could correct this. There is a chance I have confused things somewhat and that there is one Hanter Dro used and the other supposed Hanter Dro was the Rond De Loudéac.
The Endless Knot- This song is a straightforward adaptation of an Irish traditional Waltz known as Uaine Bheag composed by Irish fiddle player Daire Bracken. There is a youtube comment on a live recording of this song supposedly by Bracken commending Eluveitie for their adaptation of his Waltz.
AnDro- Breton AnDro (name unknown but popularly called St Patrick's An Dro) this tune is popular among folk and medieval artists like Carlos Nuñez and Faun). I think they may have been influenced by Faun’s arrangement, this is due to the added extra C part not found in most other arrangements to my knowledge.
The band also added fiddle interludes. I presume these are original compositions.
Slania:
Samon- Irish Air Amhrán na Leabhar (Song of the Books) albeit appears played a little fast for an air, feels almost waltz like, tho I think it’s in 4/4 which is not like waltz which are usually 3/4. The tune is classed as a waltz on The Session, so possibly there are waltz arrangements, but I was taught it as an air.
Primordial Breath- beginning/chorus and bridge melodies are non-traditional, written by Chrigel Glanzmann. The instrumental part is likely Sleepy Maggie an Irish Reel. I recall Chrigel had acknowledged the use of a Scottish tune but was not sure on the name.
I had in earlier posts stated that Drowsy Maggie was used by the band. This is incorrect, in part due to a confusion on my end regarding the two reels, I had thought them to be alternate names for the same reel. They are two separate Irish reels, that do sound a little similar, I think. That said, it is most likely that Sleepy Maggie was the utilised Reel. I don’t know if the band ever adapted Drowsy Maggie.
Inis Mona- The intro and chorus of the song adapt the Breton sailor song Tri Martolod. This song adapts the chorus melody of the tune. There are several popular renditions, it’s arguably the most popular Breton song outside of Britanny. It was popularised by Alan Stivell, Nolwenn Leroy did her own somewhat modern rendition, and there is a part German performance by Santiano. The verse and pre-chorus are I believe original compositions that were likely meant to compliment the use of Tri Martolod, OR, the verse melody may have been taken from the A part? Of a Breton Hanter Dro called Echu Eo Ar Mare, same tune that MAY have been used on Uis Elveti.
The whistle solo piece performed by Chrigel, I’m not too sure about. It’s probably an original piece, but once upon a time I may have seen a name suggested for it as a traditional tune. I’ve no recording of this tho, so it may be a fault with my memory.
Gray Sublime Archon- I suspect there are two pieces in this tune. The only thing I can assuredly identify is the reel by Daire Bracken, the name of which was undisclosed but would have to be The Watchmaker’s Cloth. Otherwise, I suspect, although with uncertainty, that the other piece could be the Watchmaker Reel. While similarly named these are unrelated reels.
There are two known tunes composed by Bracken, one is a waltz called Uaine Bheag which was used in The Endless Knot and so sounds nothing like this song, the other is reel called The Watchmaker’s Cloth. I suspect the instrumental piece that starts from around 02:33 is this reel. It sounds possibly like it to me at least.
Anagantios- basically just a rendition of Star of County Down although I believe Sevan Kirder had initially thought it was an original composition.
There does seem to be a relationship between SCD and an English/Irish (some sources say Irish, most I think say it’s English) hymn called Kingsfold
Bloodstained Ground- tune in bridge & chorus is an irish reel called the Roscommon reel, tune in instrumental part: non-trad. written by Chrigel Glanzmann
The Somber Lay- sounds like it could either be Man of the House or Bag of Spuds reels. Perhaps the former is more likely.
I had originally put it down as featuring an Irish reel called Garry O’Connor’s, but it was pointed out to me that such a reel cannot be found (at least under such a name). I wonder if this arose from a confusion of mine involving Gerry O’Connor. There is an accomplished banjo player named Gerry O’Connor (also an accomplished fiddle player of that name) and I wonder if I came across them playing a relevant tune and I confusedly thought it was the name of the tune. Ultimately, I can’t say for sure, it was years ago when I made this error.
Slania's Song- This is basically just The Humours of Tullycrine an Irish Hornpipe, while this tune is a hornpipe it can, and I believe has been played more like a reel. In the case of Eluveitie’s use, I’d say they’re playing it in hornpipe style.
Giamonios- The source of sprey a Scottish Strathspey by Lachlan MacPherson. Strathspeys are Scottish dances, generally associated with the region of Strathspey. They’re in 4/4 timing like reels and hornpipes but are generally on the slower end. While they are Scottish in nature, they are apparently popular in Donegal.
Tarvos- The song adapts an Irish reel, Cooley's reel named after accordion player Joe Cooley (hence one alternate name for this reel is Joe Cooley’s Reel) however its origins and composition appear to be unknown. The Online Academy of Irish Music credit John McGrath’s The Tulla Reel, but this information is less clear cut.
I had thought that the chorus was a reel by Paddy Fahey, but I wasn’t sure which reel exactly, Paddy Fahey’s #1 was a likely candidate but ultimately, I concluded that only Cooley’s Reel was adapted into this song. I think part of this confusion was due to how the band utilised Cooley’s Reel. Eluveitie start Tarvos off with the B-part and use the A-part for the chorus, this is imo a little unusual for them since they either incorporate the A or B part of a tune, or in cases where they adapt a whole tune, they’d play it more linearly.
Calling the Rain- appears to be adapted from the E-minor Jig a Scottish jig
Elembivos- AnDro (name unknown). Bears a strong resemblance to Androide by Breton avant-garde “celtic” band Plantec which could further cement the traditional roots of the song.
Evocation:
Sacrapos (intro)- So this one I’m not too sure about, I’ve seen some instances of a Llantwit AnDro being suggested or else it’s an Anna Murphy composition. I don’t recall being able to find anything under Llantwit AnDro so I’m inclined to think it’s more likely an Anna composition.
Brictom- Appears to be adapted from a Breton piece called Gladez. Jonathan Shorland is typically associated with it
A Girl's Oath- Written by Anna
The Arcane Dominion- The song appears to have adapted a tune whose name was given to me as Danse Breton. This is a Breton AnDro called Kerfank, Kistindiz or Gweharall
It has been claimed somewhere (I remember not) that a tune identified as Llantwit AnDro
was utilised somewhere in this song. For the most part the song appears to be an adaptation of the Kerfank AnDro plus I’ve not been able to find anything under Llantwit AnDro so if there is an alternate tune of note used, it may be an original composition.
Within the Grove- Castlekelly reel, an Irish reel. Reels are often played fast, and Eluveitie make no exception to this most of the time, but in this case, it’s argued by some that this reel is best played slow, like how Eluveitie play it.
The Cauldron of Renascence- Written by chrigel
Nata- I believe this was based off an old Irish church song, although I have no name further info. Jig at end written by chrigel
Omnos- Seemingly an original composition by Chrigel, some observers suggest a Balkan, specifically Serbian shepherd tune was sourced. Comparisons were made to a song by Faun Schrei is in di Winde
Carnutian Forest- The 1st part was likely an adaptation of The Sweetest Joy by Lothlorien, a New Zealand based “Celtic” band. It was written by their singer Tamzin Wood.
2nd part composed by Chrigel but the vocal melody sounds like it may have been taken from a Tour: J'ai dix sous a Breton song.
Desumiis Luge- non-trad, written by Meri and Anna. The lyrics were taken from the Chamalières Tablet.
Gobanno- Irish reel known as Julia Delaney's. They pitch this one low with the use of Bb whistles and a 5-string viola. Eluveitie also play this somewhat slower than most arrangements I’ve heard. Interestingly it’s said (and my experiences thus far kinda cement this) that it’s kinda impossible to play on uilleann pipes, the B part especially.
Vovesso In Mori- Original composition, principally written by Anna with jig after first verse/end: written by Chrigel
Memento- non-trad; written by Efren Lopez & Päde Kistler
Ne Regv Na- whistle tune throughout the song: trad. Breton AnDro [An anglezed bonetou ruz]() (same one used in Helvetios, D'veritu agage d'bitu/verija uit an bitus on Ven)
Sacrapos (outro)- same tune as in the intro so likely an Anna composition if it’s not a trad
Slania Folk Medley -Man of the House/Bag of Spuds (see The Somber Lay) followed by Cooley’s Reel and then Roscommon with it looping back to the first tune.
Everything Remains As it Never Was: (From here things become patchy)
Otherworld- Adapted from the Irish air An raibh tú an gCarraig? (Were You at the Rock?)
Everything Remains as It Never Was-
Thousandfold- The primary melody possibly resembles the Irish reel Man of the House, primarily the A-part of the reel. So, it may be derived from that.
I’m not sure about the bridge of the song.
Nil- Taken from the Irish reel composed by renowned fiddle player Paddy Fahy, creatively known as Paddy Fahy’s Reel #1. Fahy composed a plethora of tunes, jigs, reels, hornpipes, you name it. But he also opted to not name any of them, thus they’re usually identified with numbers.
The Essence of Ashes- The intro and chorus appear to be derived from an Irish reel The Word’s End by Brian McDonagh, there are notable performances by the group Dervish.
Rest of the song I’m not sure on.
Isara- Not known for sure, it’s possibly derived from a Breton piece, but it may also be a band composition. The intro resembles Rain by Dax Johnson
Kingdom Come Undone- Appears to have been largely derived from gillou goes to jallerange by the band Blackwater off the album “Don’t Relax Do It” (2008). The “solo” part of the song appears to have been taken from The Lord of the Dance which was composed by Ronan Hardiman
Quoth The Raven-
(Do)Minion-
Setlon- Taken from the song Don’t Relax, Do It by Blackwater.
Sempiternal Embers- Same melody used as in “Home” on Helvetios, otherwise unknown tune.
Lugdunnon-
The Liminal Passage- Taken from an Irish march, After the Battle of Aughrim
Helvetios:
Prologue- N/A
Helvetios- The primary melody is taken from An anglezed bonetou ruz - An Dro (same one as D'veritu agage D'bitu & Ne Regv Na)
The solo section from around 02:10-02:37 is taken from The Anvil a Scottish reel composed by Will Smith.
Luxtos- To put it simply, main melody is La Jument De Michao a Breton AnDro.
It should be noted, that La Jument De Michao is a later, Breton adaptation of a medieval French tune J’ai Vu Le Lop. This tune appears to be related to or ancestral to the Occitian Ai Vis Lo Lop (which would be adapted by Elu on the Ategnatos album).
Scottish Jacobite tune “Cam Ye O’er Frae France” was also used in the instrumental section mid song (around from 02:45-03:11)
Home- Same piece as Sempiternal Embers on the previous album, otherwise an unknown tune.
Santonian Shores- The main melody appears to be derived from Plane Tree by Maxou Heintzen, this piece may also be known as Mominette. Otherwise, an AnDro is thought to also be featured.
Scorched Earth- The vocal melody, appears to have been adapted from the Breton tune An Hani A Garan which was apparently composed by or at least associated with Alan Stivell. The band slowed it down and made it into a gwerz style song. Gwerz being a Breton style of mostly acapella vocal lament.
Meet the Enemy- whistle/dulcimer piece is an Irish reel composed by Johnny Harling called With Ourselves also known as Johnny Harling’s Reel.
Neverland- The intro of the song bears some possible resemblance to An Anglezed (same source as Helvetios) in such case it would be a modified version
fiddle tune in the instrumental part was written by Chris Stout perhaps Da sneck o’da smaalie
A Rose for Epona- This one is a little peculiar. As far as it is understood, the song is a non-traditional composition by the band, yet some comparisons have been made to a song called Metropolice by the Japanese Melodic Death Metal band “Blood Stain Child”. The song was featured on their 2009 album Mozaíq. Specifically, the intro melody played on the Uilleann pipes closely resemble the synth melody on the BSC song.
It sounds to me like it’s the first half of the BSC song that’s familiar to Elu’s melody, albeit played slightly faster
Havoc- Adapts an Irish reel called Farwell to Erin or Farewell to Ireland. The band may have been inspired by the Bothy Band’s rendition, or at least Chrigel did point to their version when disclosing the reel. The band appear have done a similar treatment to this tune as they did with Cooley’s Reel on Tarvos. The intro and chorus of the song appear to utilise C part of the reel. The melody after the first verse appears to be the A-part.
The slow melody in the breakdown/bridge is unclear. It could be a slowed down version of the Reel’s B-part, at least tentatively but perhaps not. It may be an original composition, or it’s another trad but it was never disclosed to my knowledge. I’d hazard that it’s original.
I initially had thought the song was taken from a different reel called Toss the Feathers, but it wasn't, Chrigel has no recollection of ever using Toss the Feathers, instead he pointed to Farewell to Erin Reel as the inspiration for the song.
The Uprising- There are a few different parts to The Uprising, but it appears that only one traditional tune was utilised.
At the beginning part of the song is taken from an Irish reel called The Ruined Old Cottage in The Glen. I believe Chrigel said to have somewhat played this close to Matt Molloy’s version of this tune on The Fire Aflame album. This may explain any potential unusualness to how it may sound.
The remainder of the song appears to have been a band composition, mainly by Chrigel and Ivo This includes both the chorus was written by Ivo, Chrigel just made it "folky/whistly/irish" and the accompaniment in the middle of the song (with the spoken word by Alexander Morton), that was either written by ivo or Chrigel (Chrigel couldn't remember for sure)
Hope- I believe the song is derived from two Irish Reels Teehan’s Reel and Fair-Haired Molly or Molly Bán. The A-part of the song could be largely based on Fair Haired Molly before they play the B-part of Teehan’s Reel. After the halfway point of the song or so, it seems the band transition to just playing Teehan’s Reel, both the A and B parts. The A-part of the Molly reel is initially very close to the A-part of Cooley’s Reel. Hence why one could think Cooley’s Reel would be featured.
I had noted a possible resemblance to The Maids of Mitchelstown reel, but I ultimately believe it is an adaptation of the Fair-Haired Molly and Teehan’s reels.
The Siege- So there appear to be two traditional pieces in this song, both Irish. Star of Munster a popular session Reel, and a presently unknown tune composed by Irish fiddle player Valerie Casey.
The fiddle solo from 01:15-01:57 is Star of Munster. The chorus is likely the Valery Casey composition.
Casey was a member of the all-female trad group Líadan, and their album Casadh na Taoide has been mentioned when this song is discussed. I’ll have to see which track was the likely inspiration, it’s a difficult album to find any content online.
Alesia-
Tullianum- Band Composition (composed by Chrigel it seems)
Uxellodunnon-
Epilogue – Appears to have been taken from the Cuckoo´s Nest Hornpipe, it also known as Jacky Tar, and, in Wales as Nyth Y Gog.
Origins:
Origins (intro)- Young Ned of the Hil by the English based “Celtic Punk” band The Pouges was used.
The Nameless - primarily young Ned of the hill, again.
Young Ned of the Hill is related to an Irish Sean Nós song/air known as Eamonn na Chnoic (Ned of the Hill), it’s mostly an adaptation of the lyrics rendered to an upbeat tune.
From Darkness - the tune in the bridge is Dr. Gilbert's Reel
Celtos- Adapts three Breton tunes: verses are Maluron Lurette, chorus is Tri Martolod (first part of some arrangements, otherwise identified as verse melody) and the instrumental section is Les Filles de Forge
Virinus- end of the song is Swallowtail jig
Nothing- N/A
The Call of the Mountains-
Sucellos- pre-chorus is an Irish reel known as are you ready yet? Composed by Tom Doorley of Danú.
Inception-
Vianna-
The Silver Sister-
King- The Instrumental piece in the song’s bridge appears to have been taken from an Irish reel, known as Master Crowley’s
The Day of Strife- The breakdown in the song features a melody that the band would re-use on the song Ogmios on Evocation 2. I believe this is a traditional tune, but I know nothing of it. I tentatively believe it to not be an Irish tune, possibly Breton but this is total guesswork.
Ogmios- N/A
Carry the Torch-
Eternity- an Irish Waltz was adapted here; it sounds to me like it’s Archibald McDonnell of Kepoch but a resemblance to the waltz Floating from Skerry by Lynn Tocker could be observed. These were presented to me as being alternate names for the same tune, but I’ve yet to find an established relationship between these waltzes.
Evocation 2: (This is where the band would REALLY make repeated use of older melodies, for what exact reason I cannot say but in some instances like Ogmios it would appear to be for thematic reasons)
Dureððu- This might be the same melody as on Sacrapos track on Evocation 1. In such case it would be an original composition by the band, specifically Anna Murphy I believe.
Epona- The principal melody is derived from an Irish tune called King of the Fairies. This is either a hornpipe or a set-dance. Northern Irish folk/black metal band Waylander did a rendition of this, with lyrics attached.
The vocal melody sounds a lot like a traditional French/Occitian children’s song called Jean Petit Qui Danse/Joan petit que dança.
Svcellos II- I think this was adapted from Road to Budapest by Irish piper and whistle player Eoin Duignan but played slower. It’s off the same album as Rouges and Rascals his 2002 album Ancient Rite.
Nantosvelta- Starts off with a Breton Rond De Loudéac. This tune is described on The Session as a Reel, but it is not, although some popular arrangements such as by Lunasa play it closer to a Reel. This song was used by Eluveitie in their early days, on the Spirit album. In The Dance of Victory starting from around 3:37-4:27 you will hear this melody.
The second part of the song is Irish Reel Are you ready yet? by Tom Doorley of Danú. Featured previously on Origins in the song Sucellos
Tovtatis-
Lvgvs- The song appears to mostly be an adaptation of a Breton piece called son ar chistr. Folks from the likes of Germany or Netherlands may recognise it better as a drinking song called Was wollen wir trinken.
Grannos- We have three tunes featured, two Irish, one Scottish (possibly), one Hornpipe, and two Reels. The song starts off with The humours of Tullycrine hornpipe, this is the same tune they adapted for Slania’s Song. The second part appears to be The Humours of Ballyconnell an Irish reel. The third part appears to be the Blair Athol reel. There’s little info on this reel or its origins to me at present, but I believe it to be a Scottish reel.
Cernvnnos- Appears to be based on a Scottish piping tune called The Little Cascade.
I had erroneously reported this to have been a supposed Breton tune called La Petit Cascade; however, it was pointed out that such a tune does not necessarily exist. Attempts to search it under such a name result in an entirely different song by an artist named René Aubry which is nothing like what was used by Eluveitie. If one searches using the English name, they’ll find Scottish musicians playing a melody very close to (but faster) than what Elu used on the track.
Catvrix-
Artio- The song overall appears to be based on the Irish air An Raibh Tú ag an gCarraig? Both music and lyrics are derived from it, with the band translating the lyrics from Irish to Gaulish.
The instrumental ending piece was apparently taken from a traditional song from Bern. It sounds much like Guggisberglied a traditional Swiss folk song attested around the 18th century, so I believe.
Aventia- We have a whopping four tunes in this one, all Irish, a slip jig, single jig, and two reels, it would seem. We start with The Butterfly, a slip jig and follow with Leitrim Fancy, a single jig. We then follow with The Templehouse and Around the World for Sport reels.
The Butterfly was composed by Tommy Potts, that said I believe he wrote the A-part; the B and C parts were from an earlier slip jig known as Bill Groggin’s Goat. That said, it appears to be a bit more complicated than that as far as I can tell.
Ogmios- Basically Tri Martolod ver Batum, likely influenced by the Nolwenn Leroy version.
The melody that was used in the day of strife but the name of it is unknown to me, I suspect it may be a Breton piece if anything, doesn’t sound Irish imo.
Esvs- The main melody is some Breton AnDro Tri Yann did called Pelot d'Hannebont.
In the background one can hear the A-part of the famous AnDro that Eluveitie adapted into Spirit.
Antvmnos- The song is essentially an adaptation of Scarborough Fair an English folk song, with a particularly popular take by Simon and Garfunkel.
Tarvos II- The melody is certainly derived from something, likely a medieval tune. I have no idea what the name of said tune is though. How I know it’s taken from something is that there is a video by the “University of Arkansas Choirs” youtube channel of the song Santa María, Strela do Día. In this rendition of the song, there is a distinct tune played at certain sections, mainly the beginning and end. This is NOT from the Santa Maria song itself as no other arrangement I know of features this melody. This is the melody that I believe was adapted into Tarvos II.
Belenos- Irish Hornpipe known as An Paistín Fionn appears to have been utilised here. This was originally an air that was re-written by Jackie Daly into a hornpipe.
Taranis-
Nemeton-
Rebirth:
[Rebirth- ]()Irish tune, Lads of Laois which is featured in the low whistle part in the instrumental section, so around 02:40-02:55 or so. The chorus melody of the song is another Irish song known as I am Stretched on Your Grave.
Ategnatos:
Ategnatos- intro melody is an Irish tune I am stretched on your grave. This was a musical adaptation of an Irish poem. Since this was used on Rebirth I’ve a more detailed outline about this tune there.
Irish reel, Am Monadh Ruadh (Cairngorms) by Callum Stewart used at around 03:06
Ancus- N/A
Deathwalker- Irish reel Fairmoye/Fairmore Lasses used in the middle of the song.
Black Water Down- Melody starting at 02:28 to -2:49 or so, sounds like it was taken from the Sliabh Lucan Polka.
A Cry in the Wilderness- Swallowtail Jig? It sounds like they took the A part and cut it short or changed a few notes at the end, so it’d kinda cut off.
The Raven Hill- Óro Sé do bheatha bhaile is the main melody used throughout the song; it is a popular Irish rebel song. In a similar situation to Artio the band adapted the lyrics having them translated from Irish to Gaulish.
The whistle melody played in the verses sounds like it was adapted from As I Roved Out, an English folk song also known as Seventeen Come Sunday. A notable performance of this song was by Irish trad band planxty.
The whistle piece that begins at 02:50 is Ai Vis Lo Lop an Occitan song from around 03:07 another melody is played accompanying Ai Vis Lo Lop; I had thought it was As I Roved Out but wasn’t too sure until it was pointed to me where in the Elu track it was featured. It could alternatively be a variation on Ai Vis Lo Lop, but ultimately, I’m not sure rn what it is.
The Silvern Glow- Sounds like the Morning Star Reel, an Irish reel. It was suggested to me that a North Star Sleeping Jig was used but haven’t been able to verify it thus far. My source for this supposed jig was unsure of this and suspected it may be a band composition. I think Morning Star Reel makes more sense personally.
Ambriamus- Garageband Reel by Collin Farrell
Mine Is the Fury-
The Slumber- Whistle solo part is taken from The Congress Reel by Poitín
Worship- The main melody of the song, from 00:58-01:15 and again at 01:31-01:48 has been identified as belonging to a Breton tune given to me as AnDro Ogham. It’s hard to find any recordings of this tune under that name, but I think I’ve managed to find the source tune thanks to a helpful commenter. The tune appears to be found on a split or compilation album from 1978 called Ils Se Meurent Nos Oiseaux..., the track is called An Droiou by a group called Ogham. This song may also appear on the band’s sole album Boked Eured.
Whistle solo is a Strathspey called King George IV but played fast (as I said earlier, Strathspey’s are usually played slow) apparently it is based off the Déanta arrangement.
Trinoxtion- Appears to be adapted from an Irish reel. The reel goes by several names (what else is new) but the name given to me initially is Rowesome’s but it may be better known as The Ballintore Fancy.
Threefold Death-
Breathe-
Rebirth- Irish tune, Lads of Laois which is featured in the low whistle part in the instrumental section, so around 02:40-02:55 or so. The chorus is I am Stretched on your grave which is the English name for the anonymous 17th century Irish poem Táim sínte ar do thuma that was given a musical arrangement by Philip King in 1979
Eclipse- I am stretched on your grave.
Aidus:
Aidus-
Exile of the Gods:
Exile of the Gods- The bridge reel that starts at 02:45 resembles the song Close to the Edge by a group called The Crossing. Specifically, the melody from 02:08 or so of the song appears to be what was used. My source for this thinks that the reel found in Close to the Edge was a traditional reel that was incorporated into the song at large but nonetheless was probably the source for Elu’s use of it in Exile of the Gods.
Ànv:
Emerge-
Taranoías-
The Prodigal Ones-
Ànv-
Premonition- Peter Morrison is credited for composing something on this song, it sounds to me like it’s his reel Spider’s. The song appears to mainly utilise the A-part with the B-part being featured in the breakdown prior to the guitar solo.
Awen-
Anamcara-
The Harvest- Irish Reel The Maids of Mt. Kisco utilised in the bridge of the song. Specifically, the A-part was utilised.
This is an Irish reel with possible origins in the US, at the least its name is in reference to a small town in the US with a strong Irish diaspora population. Anything else about it is unknown for sure.
I had stated that the tune seemed familiar to me when I first heard it on The Harvest. I suspected it was something Elu might have used before, but I don’t think that’s the case. The reason for it being familiar is because of Lúnasa, the first track of their eponymous debut album titled Eanair consists of 3 tunes, Lord Mayo march, Larideé a Six Temps or Gavotte and Maids of Mt. Cisco.
Memories of Innocence- features two Irish Reels. It starts off with Sweeney’s Buttermilk by the Armagh fiddler Brendan McGlinchey, first played slow before they speed it up, they then follow it up with Catharsis by Amy Cann. Same Reel as on The Dance of Victory on Spirit. They then seem to loop it around back to Sweeney’s Buttermilk.
All is One-
Aeon of the Crescent Moon- Some composition by a Tommy Fischer, haven’t found what is yet
The Prophecy- Odran Plantec (of the group Plantec) is credited for composing a Breton folk tune that this song adapted. The tune in question is Feulz from the group’s 2017 album Kontact.
