My friends have asked me to write about my epic moment with Eluveitie, so here we go.
Eluveitie, for those who aren’t familiar, is a Celtic folk metal band out of Switzerland. But here’s the thing about them: they aren’t just a metal band, they are a Celtophilic cultural phenomenon. The music fuses traditional Celtic folk instruments (uillean pipes, fiddles, flutes, hurdy-gurdy, bodhran) with powerful metal grooves. Songs are written in a mix of ancient Gaulish and English – some of them including actual ancient Gaulish magickal, religious, and poetic texts set to their own music.
Naturally, as you can probably guess, I’m a mad fangirl. Epic folk metal music in the ancient Celtic mother tongue? Seriously, it doesn’t get more bad-ass than that.
During their recent North American tour, they ran a contest to give one winner at each city the chance to meet the band and get a music lesson from a bandmember on the instrument of their choice. Amazingly, even though I don’t play an instrument, I was selected for the Oakland show. In my contest entry, I wrote, “Would love to talk to songwriters about the Gaulish poetry used in your songs, as well as the history behind the Helvetios album.”
So on November 30th, I walked backstage before the show with Chrigel Glanzmann, the lead singer and lyric-writer, along with my stepdaughter and Moonbird, a fellow Coru priest. Chrigel was courteous and kindly with my million questions about his songwriting, resources for Gaulish language and history, ancient Celtic magickal and religious practice, the Gallic wars, and cultural survival.
We spoke of the destruction of Gaul following Roman subjugation. The massive bloodshed – which I’ve written of here before: the Celtic homeland was depopulated to a third of its original population size by Caesar’s sword. We spoke of the cultural loss that followed. Many of my questions related to ancient Celtic cult practice, the nature of Gaulish religion and magickal practice. He looked at me bemused when I told him I was attempting to revive aspects of Gaulish religious practice. “But it’s not possible… the religion was not documented before it was destroyed,” he said (in paraphrase – the interview was a month ago). “There is very little that we know.” I warranted that I did in fact have little to go on, but was doing my best. I sensed that it was a bit of a pleasant surprise to him to meet with a fan as devoted to Gaulish culture and language as myself. At the end of the interview, he said, “I’m glad people are trying to bring back the language and the culture.”
For Chrigel and the band, this is not just a metal music project, but a celebration of their own ancestral heritage. He and several bandmembers hail from Switzerland, from the Alpine plateau and foothill territory that was once the tribal lands of the Helvetii, a powerful Celtic tribe. He spoke eloquently in his accented English about the Helvetii and other Celtic tribes as the ancestors of the Swiss people, for whom the country in its native tongue is named: Confœderatio Helvetica. That although the Gaulish language died 1500 years ago, he feels a dedication to keeping it alive in music, as a poetic language and a vehicle for the memory of a people. He spoke of cultural survival — that although the Celtic roots of Swiss culture have been obscured by more recent Germanic influences from the early modern period, the Celtic bones remain within the culture.
He cited some fascinating examples of this from Swiss folk culture – much of what was recorded in the medieval and Enlightenment period as local charms and superstitions were in fact the remnant of ancient Celtic religio-magickal practice, translated through the centuries in the underlayers of folk culture beneath Roman and Christian overculture. The most fascinating example he gave was alpsäge, ‘alp-blessing’. This was a practice of the Gaulish tribal religion whereby magickal incantations were sung from high places in the mountainous Alpine landscape, for blessing and protection of cattle and other important tribal resources. The incantations were sung from heights in order to carry across distances and to generate echoes from the mountains, which were understood as the voice of the land spirits responding in support of the incantation. Beautiful, no? This practice has translated into modern times as…. you guessed it, yodeling. Chrigel speculated that before yodeling lost its soul, when it was practiced as a form of magickal incantation, it must have sounded quite different and more melodic.
After the interview, I felt a mixture of sadness and joy. The conversation reminded me of how much was lost following the ethnocide in Gaul. How little remains to us of the mother culture and mother tongue of the Celtic peoples. And yet…
Come the night, when the crowd roared and Eluveitie took the stage. When the mad, fierce, raging joy poured out of the musicians and swept through the crowd, churning the sea of people into a frenzy of violent celebration in the mosh pit. When the impassioned, screaming songs were sung out in the ancient language. Songs full of raw, deep emotion, telling the story of the Gallic wars and the nation that was, with joy, with pride, with rage, with anguish, with heart, the sounds of Celtic instruments swelling on a thunderous tide of metal. Songs of all that was lost, yet I could not help feeling how alive we were, how full of pride, how the flame of the Celtic spirit blazed in us in answer to the power in that music. Come the night, I felt the lost nation of Gaul singing through her descendants on the stage, echoing back from the ecstatic crowd. Everything lost is found again.
I don’t have video from our show, but here’s Eluveitie playing “Helvetios” and “Luxtos” live in Switzerland, March 2012.