Live Nation Presents
ELUVEITIE & KORPIKLAANI - Wanderers Towards Rebirth Tour
Gone In April
448 S. Main St.
Los Angeles, CA, 90013
Doors 6:00 PM / Show 7:00 PM
This event is 18 and over
We all wade through archetypes. We all ARE archetypes. Distant echoes of a life both primeval and noble. To
embrace these archetypes, to accept them not only as a part of life but as life itself is what some may call
enlightenment, some peace of mind. ELUVEITIE call it »Ategnatos«. And by using their longest gap between
two Metal albums to gather momentum, they just forged their strongest album around it.
Born in the rural mysticism of the Swiss alps and since a very early point deeply rooted within Celtic
mythology, Gaulish history and proto-European culture, ELUVEITIE have long become Folk Metal’s
trailblazers, spindoctors and rightful masters of their craft. All the more because they never limited
themselves to simple forays through rune-decorated cliches or foolish drinking songs. From their fabled
debut »Spirit« (2006) onward, theirs was an approach of respect, historic accuracy, depth and the most
thrilling, catchy, primordial melange of Melodic Death Metal and Pagan Folk the world could have ever
Success, of course, was not far behind. Their groundbreaking seminal work »Slania« saw them bond with
Nuclear Blast, a friendship that lasts to this day and quickly turned the band into a worldwide phenomenon.
In a rapid two-year-succession, they unleashed »Everything Remains (As It Never Was)«, »Helvetios« and
that massive monument of all things Folk Metal called »Origins«, framed by the two elaborate and archaic acoustic albums »Evocation I – The Arcane Dominion and »Evocation II - Pantheon«, the last of which was
also presented on an unforgettable acoustic tour. On each release, they refined their trademark brand of
Chrigel’s thundering roar, metallic fierceness and folkloric ingenuity that has always been miles above the
usual “let’s add some bagpipes there”.
Members came, members went. The soul of ELUVEITIE, though, the very essence of this pagan congregation
remained undisturbed. Now, in the dawn of 2019, they look back upon an impressive seven studio albums,
the last of which climbed to the very top of the Swiss album charts and also made a remarkable entry at No.
6 in Germany, as well as countless tours around the globe and headliner slots at the biggest Metal festivals.
Still, this was only the beginning. A 13-year-overture for the things about to come. The sky is darkening, the
ravens fly. The stage is set for the thunderstorm that has already been heralded by the tempestuous
harbinger »Rebirth« in late 2017. Finally, everything is prepared for the colossal voice of the ages that is
On an album both mystical and philosophical, ELUVEITIE propel mythology, pagan belief and spirituality into
our modern world. “This one almost became something like a socio-critical uncovering work”, says Chrigel,
“some kind of a revelation, a doomsday prophecy. Dark and severe in its atmosphere and charisma, and also
occult, arcane and elitist.” The album itself is a manifesto, a fast-paced, highly dramatic and embellished
work on which today's society sees itself in the mirror of ancient Celtic mythology and knowledge. “The
image, of course, is blood-curling”, Chrigel adds with a bitter grin. “At least to those with eyes to see.” Far
more that a pessimistic swan song for our world, however, »Ategnatos« holds the cathartic promise of
renewal. “Ategnatos is the Gaulish word for ‘reborn’”, Chrigel explains. “To the sharpened mind, it points out
the concealed, long forgotten key to change and renewal.” This, naturally, comes at a price. “There's always
suffering before bliss. And always darkness before light.”
A work based on archaic archetypes and the ancient concept of renewal, »Ategnatos« unfolds an elemental
force to be reckoned with. “These archetypes are still within us. People didn't change that much during the
last 3000 years – and men were always just men.” No wonder the album follows a decidedly darker,
monumental tone that suits them very well. Of course, ELUVEITIE have long found their very own trademark
sound, a sonic adventure often copied but never overcome. With »Ategnatos«, the dedicated nine-piece not
only worked with a real string quartet (a premiere!) and granted Fabienne Erni’s sublime mastery of the
harp the room it deserved; they also undertook a holistic upgrade resulting in some of the most catchy
(‘Ambriamus’), most aggressive (‘Worship’, featuring LAMB OF GOD titan Randy Blythe on guest vocals) or
most epic (‘Black Water Down’) tunes the Swiss Metal nobility has ever offered.
While this may not come as a surprise to those familiar with the zeal and ardor this band is known for, the
whole journey that would eventually give birth to »Ategnatos« was rather unusual. With what quickly
became the most stable, most prolific and most creative line-up yet, ELUVEITIE created the album while
staying at the Zurich University of Arts and more than ever worked as one. This is an accomplishment in itself
given the fact that the Swiss Folk Metal superstars boast a full nine members, but it gets even more special if
you recall the usual process of creation. “From the very beginning of ELUVEITIE, my blueprint for a new
album remained untouched and eventually became a reality. This record, however, is a product of the entire
band. The whole affair was a decidedly spontaneous process allowing the songs to radically change while still
in development.” The instant hit ‘Ambriamus’, for example, only took them two hours to write when they
already were in the studio. “A bit unusual”, Chrigel confesses, “but all the more brilliant.”
Some things, of course, never change. Recordings took place in their beloved New Sound Studio with their
engineer of choice Tommy Vetterli. “Yet it was radically different as we only had four weeks to record this time around – as compared to the eight weeks we had for ‘Origins’.” By taking mixing duties to the skilled
hand of renowned studio wizard Jens Bogren in his Fascination Street Studios in Örebro, Sweden, ELUVEITIE
returned to the very spot where they mixed their now legendary »Slania« album more than ten years ago.
“How time flies”, Chrigel exclaims. And with an insurmountable epic like »Ategnatos« under their belts, the
next years are bound to fly by, too. Heavy touring will commence even before the release, taking the band to
South America first. “Asia, Europe and the United States are about to follow, bridged by a massive festival
season”. Oh no, ELUVEITIE are not only back, stronger and fiercer than ever. They are reborn. Truly and
thoroughly reborn, thus becoming an archetype of their own.
After 3 years since the last album, Finnish Folk Metal Superstars KORPIKLAANI offer their 10 th
album titled »Kulkija« (“Wanderer”), set for a September 7 th , 2018 release.
Concluding 14 (!) tracks, »Kulkija« is their longest album, but also their most natural
sounding one to date. “That’s what you can clearly hear. It’s closer to how we sound on
stage, and we’ll be able to play all new songs live, that’s for sure,” explains Jonne. For
tracking, the band members mostly used their current tour rig.
And the result was definitely worth the waiting. From the first to the last tone, a unique
atmosphere guides the listeners through a long journey. “It’s not just a collection of songs,
it’s a ‘real’ album,” states Sami. Adds Jonne, “It needed many songs to create this
atmosphere, and the record’s flow is really good too. You should definitely listen to »Kulkija«
as a whole. The more you listen to the record, the more details you can find.” Sami Perttula
explains further, “We really took our time and recorded it piece by piece. All songs were also
well prepared in advance and nothing needed to be arranged in the studio like sometimes
Also, instrumentally, the band continues the way they had already started from »Manala«
(2012) to »Noita« (2015). “The characters of all instruments are more balanced than ever
before. For the first time, I had the chance to play such a wide range of emotions on a metal
album, and didn’t only have to focus on playing everything hard or in a rock style. I could use
more of my expressional skills,” comments fiddler Tuomas.
Lyrically, the album deals with the album’s title character, the wanderer. He appears in every
song and every single track represents one of his life situations. For example, 'Neito' deals
with his woman. “The woman is the road, and as much as the wanderer loves being on the
road, so much he loves his maiden,” explains Jonne (all roughly translated song titles can be
found below). The album can even mostly be transferred to the band’s life on the road, far
from home, which makes it probably also KORPIKLAANI’s most personal and emotional
album. But now onwards to KORPIKLAANI’s new music.
»Kulkija« begins with a band-typical opening trio in the form of 'Neito', 'Korpikuusen Kyynel'
and 'Aallon Alla', but then a beautiful acoustic ballad entitled 'Harmaja', gives the listener a
first break to take breath. Continuing with 'Kotikonnut', also the first single, 'Korppikalliota'
leads to 'Kallon malja', which is the album’s longest track with about 10 minutes. Track 8,
the doomy 'Sillanrakentaja', surprises with a children’s choir (feat. Cane’s and Jonne’s kids),
before 'Henkselipoika' takes over. This song could sound familiar to some people as it
already premiered live on KORPIKLAANI’s extensive European tour with HEIDEVOLK,
ARKONA and TROLLFEST in early 2018. The instrumental track 'Pellervoinen', written by
fiddler Tuomas, opens up the last third of »Kulkija« with its charming folk arrangements,
followed by 'Riemu' and 'Kuin korpi nukkuva', before another high-paced track,
'Juomamaa', leads to the peaceful outro, 'Tuttu on tie'.
The mastering skills of renowned engineer Svante Forsbäck (RAMMSTEIN a.o.), who already
worked with the band on »Live at Masters of Rock« (2017), gave the record its unique
sound. “This record is so easy to listen to and interesting all the time, the balance is simply
perfect,” he states. “We’ve never been as satisfied with a final result as we are with
»Kulkija«,” confirms Jonne.
»Kulkija« was recorded in November 2017 at Petrax Studio (Hollola, Finland) and mixed at
Sound Supreme Studio (Hämeenlinna, Finland) with producer/mixing engineer Janne Saksa
and the final result presents the band as you’ve never heard them before. The corresponding
detailed cover artwork was designed by Jan Yrlund (BATTLE BEAST, MANOWAR a.o.), who
has been designing their covers since their 3 rd album, and shows a beautiful landscape, based
on a real photo taken by Jan at Huhtalan torppa, Kuhmoinen, Finland.
After their foundation by frontman Jonne Järvelä in 2003, KORPIKLAANI was very productive
and has already released an impressive amount of 9 studio albums (sometimes almost one
album a year) plus a live DVD/Blu-ray (»Live at Masters of Rock«, 2017) in their only 15-year
Gone In April
Gone In April came to life in 2011, with the release of their debut album, We Are But Human. With the release of their second album, Threads Of Existence, in 2016, the band continues to unite a diverse palette of metal genres, such as symphonic, death, speed and goth. The band received praise from the international metal community, and performed within North America as well as Asia.
$30 Advance / $35 Day of Show