By Luis Fernando Ribeiro and Leandro Abrantes
The history of heavy metal in Brazil is often intertwined with the trajectory of some pioneering bands who dared to do in their own way what was already being done abroad. Always armed with the cultural influences characteristic of our country, these bands managed to create something surprising, exploring genres that already had their formulas well established in Europe and the United States, which received with perplexity the music created by these audacious "wild boys," mixing rustic, rudimentary, and even tribal elements that might sound incompatible with heavy metal, if they weren't absolutely natural for those who carry in their own blood this unique and peculiar cultural richness, evidenced in undeniable classics such as "Roots," "Holy Land," and "Tingaralatingadun." This is how Sepultura , Angra , Tuatha de Danann , and so many others sketched and redrew the map of heavy metal with the unique strokes and colors of Brazil.
Formed in 1994 in the heart of the state of Minas Gerais, the Minas Gerais bards of Tuatha de Danann , as they became affectionately known among their fans, possessed great stories to tell and a very unique way of transforming them into songs. They sought cultural exchange and the necessary elements in the roots of medieval, Celtic, Irish, and Brazilian music to reinvent folk metal with contagious charisma and overflowing inventiveness in every single note, often forcing the listener to investigate which instrument they are hearing.
Having reached the pinnacle of world heavy metal by playing at Wacken Open Air, with the status of a winning band in a global competition that took them to the festival, but also having been close to ruin when their classic lineup practically dissolved, Tuatha de Danann has lived through intense moments of misfortune and glory in its almost thirty years of history, transformed into maturity and consolidated in In Nomine Éireann , in which the band effectively manages to find the balance between its classic sound, its unique blend and its ability to keep reinventing itself.
With the intention of paying homage to Irish music, which has always directly influenced the band's sound, by re-recording classics dating back to the 12th century, Tuatha entered Braia Studios to release the successor to The Tribes of Witching Souls , but their plans were completely altered by the pandemic and quarantine situation to which the whole world was subjected. Unable to perform live and use traditional means to survive in music, Bruno Maia , Giovani Gomes, and Edgard Brito , remaining members of the band's classic lineup, were forced to seek new ways to make a living from their art and bring it to their fans. Through the musicians' unconditional dedication to the band, an intense marketing campaign, and a crowdfunding process to finance the release of their new album, along with the support of their loyal fanbase who were able to follow the behind-the-scenes recording process, it was possible to bring In Nomine Éirean to life, and the wait and effort of everyone involved, we can affirm, was duly rewarded from the first to the last note of the record.
The rumble of the bagpipes, the drumming of the bodhran , and the mournful lament of the violin announce the good news, and one instrument after another leads us by the hand into this true celebration of music, inviting us to leave behind all our fears, forget our names, open our eyes, and see the magic happening. This is how we are introduced to the album, with the beautiful instrumental track “Nick Gwerk's Jigs,” a medley of two traditional Irish themes, “Mist Covered Mountain” and “The Banks of Lough Gowna,” featuring an original, previously unreleased composition, “Nick Gwerk”—an Irishman who participated in the Inconfidência Mineira alongside Tiradentes—and the unexpected interlude of the already well-known “We're Back.” The lush and delicate arrangements, combined with the immediate recognition of the song from the album "Dawn of a New Sun," take the listener from nostalgia to emotion in a matter of moments, leaving them floating when Bruno Maia enters with a hissing melody on his always well-placed tin whistle. In addition to the instruments already mentioned, this track also features bouzouki Tuathan-esque arrangements , Giovani Gomes's masterful bass , and the brilliant participation of musicians Rafael Delfino on the bodhran , Nathan Viana and the Irishman Kane O'Rourke on violins, and Alex Navar on uilleann pipes .
The abrupt and somewhat simplistic transition to "Molly Maguires," along with its slightly more muffled sound, causes a small break in the magical atmosphere built up in the first song, shifting to a more contagious and direct rhythm, typical of songs like "Tir Nan Og" and "The Dance of the Little Ones." The album's first single, released early, is Tuatha's version of another traditional Irish theme, featuring a chorus that immediately sticks in your memory, meant to be sung at the top of your lungs amidst toasts, generous gulps of beer, and lively dancing to the reel, driven by Bruno Maia Kane O'Rourke 's vibrant violin , and Rafael Delfino's galloping and varied drumming. Edgard's hypnotic effects Giovani 's pulsating bass line connect all the ends of this true sonic revelry. For this track, the band also featured a very special guest appearance by Keith Fay from Cruachan , sharing his captivating vocals with Bruno and Giovani. The lyrics are about Irish immigrants who rebelled against oppressive bosses, especially in the coal mines of Pennsylvania, in the United States.
The perfect contrast between the fantastical atmosphere of the first song and the contagious vibe of the second comes together in “Guns and Pikes,” the album's second single, in a medley of a traditional song and excerpts from new compositions by the band. Folkmooney's participation sharing vocals with Bruno Maia Gomes ' heavy rhythm section, accompanied by the participation of the excellent drummer Marcell Cardoso , from Família Lima , create the bridge to the powerful chorus to be sung at the top of their lungs: “Praise the ones who face oppression, Praise the ones who dare to fight! They gave their life for freedom and shall be hailed both day and night! Be of god or of the devil, if they come, bring guns and pikes, cause the likes of them are fierce and they will fight until they die.”
The instrumental “Moytura” once again blends elements of traditional Irish jigs, the enchanting “Humours of Whiskey” and “Leslie's March,” with new arrangements for a Tuatha classic, “Battle Song.” The low whistle reinterpretation of the beautiful original keyboard arrangement of the song from the album “Tingaralatingadum” was a perfect fit for the melodies, sometimes slow and deep, created by the combination of bouzouki, bodhran, and violin sounds, and sometimes vivid and bouncy, from the slip jig, created by the beautiful bass line, banjo, uilleann pipes, and the unlikely but lovely sound of Edgard's melodica – those little wind keyboards. One of the most beautiful and moving songs on the entire album.
One of the few completely original tracks on the album, “The Calling” is a gift for longtime fans of the band, with a structure and musical aesthetic reminiscent of the epic “Trova di Danú” and “The Wheel,” especially in the vocal partnership between Bruno Maia and the beautiful voice of Manu Saggioro , and in the somber atmosphere accentuated by the refined density of the melodies and voices, which, despite sounding sweet and delicate, call upon brothers and sisters to unite, act, and fight, in a tone of tense and incisive urgency.
“The Wind That Shakes the Barley” is a version inspired by an arrangement by the American Irish traditional music group, Solas . In Tuatha's version , Raphael Wagner 's guitars – who delivers the first solos on the album – and Bruno Maia – who also provides beautiful acoustic guitar arrangements – the precise and growling bass lines of Giovani Gomes – who could have benefited from a little more volume in this song – accompanied by the broken and technical drumming of Marcell Cardoso and the various layers of diverse arrangements by Edgard Brito, making it the heaviest and most vigorous song on the entire album. The participation of vocalist Daísa Munhoz , with her velvety and powerful voice, further enhances the grandeur of the composition. All of the band's inventive capacity is reflected in every detail of this release. It's also worth highlighting the beautiful album artwork created by Rodrigo Barbieri and the work done by Paulo Oliveira on the cover art, which accurately conveys the feelings and profound artistic sense of the album.
The traditional “Newry Highwayman” has had its arrangement kept closer to the original than the other songs, and despite being less than three minutes long, it possesses a beautiful storytelling and a masterful interpretation shared between Bruno Maia, who most likely shared the absolutely theatrical backing vocals with bassist Giovani, in addition to the delightful voice of Talita Quintano . The song ends and leaves the impression that it could continue playing all night long, like a beautiful story being told by a campfire, completely absorbing the listener's attention.
“The Master Reels” is the longest song on the album, combining excerpts and elements from the songs “Glen of Aherlow”, “Julie Delaney”, “Dregs of Birch” by singer Tanya Elizabeth, and “Maia's”, another original composition by Bruno Maia. The quantity and diversity of songs incorporated into this track are reflected in the number of mood changes presented, going from a more melancholic and introspective section, absolutely moving, driven by the wind instruments and the beautiful participation of the Irish traditionalist musician John Doyle on guitar and bouzouki, through a more lively and festive bridge, which precedes a darker section, driven by drawn-out lines and heavy banjo, violin, bouzouki, and culminating in the hopeful and vivid melodies of the song's final section. In addition to John Doyle , the aforementioned violinist Kane O'Rourke and Rafael Salobreña on bodhran .
The inevitable drinking song “The Devil Drink Cider,” with its grandiose narrative, possesses a difficult-to-explain atmosphere, somewhere between exciting and somber, fun and heroic, especially due to the contrasting vocal nuances between Bruno Maia and that of the guest, American musician Marc Gunn , with excellent incursions of guttural vocals and backing vocals, reinforcing the song's epic mood. Besides Marc, violinist Nathan Viana with his precise and accurate interventions, and the excellent drummer Fabrício Altino , who conducts the constant rhythmic breaks with technique and feeling in just the right measure, creating memorable atmospheres in the surdo's galloping or the ride cymbal's rhythm sections. The duets and guitar solo, the powerful rhythm section, and the concise keyboard parts bring the infallible weight of heavy metal, fundamental to the mix that results in the formula that Tuatha de Danann created and continues to refine with each album.
The album closes with the moving "The Dream One Dreamt," which begins with a guitar line reminiscent of the one preceding the chorus of "Spellboundance," accompanied by beautiful effects created by Edgard on the keyboard, who showcases his vast and refined repertoire in this song. This is followed by a gorgeous and moving banjo line, an instrument that has been more present than ever on this album and which here invites each of the instruments to dance to its melody as if one by one they were coming to greet and thank its participation and importance in the composition of this album and the admirable history of Tuatha, in a farewell as fun and moving as "Tingaralatingadun" was for the album that bears its name.
As a bonus track, we are also treated to the seismic brutality of "King," which stands out so much from the rest of the album that it didn't make it into the official tracklist, with its quite clear and targeted political message in its lyrics, created in partnership with Tadeu Salgado . The song is a celebration of the work and talent of the three determined musicians who carry the weight of Tuatha de Danann on their shoulders. Bruno Maia, as always, showcases his full range as a skilled multi-instrumentalist, but here he also recalls his importance as a heavy metal guitarist and vocalist, creating full-bodied riffs, powerful solos, and exquisite vocal lines. Giovani Gomes, with his thrilling bass, creates deep, loose, and dazzling phrases and a breathtaking foundation, fundamental as the basis of a great construction. Edgard Brito , as the virtuoso keyboardist he is, explores the possibilities of his instrument, making his influences evident, but also his creative capacity, helping to shape the unique identity already embodied in Tuatha's music. Rafael Delfino also shows himself to be increasingly integrated and an excellent choice to continue accompanying the band.
In Nomine Éireann conveys the confidence of a band that has rediscovered its path, knowing where it came from and where it's going, honoring not only Irish music but, above all, its fans and the work of Tuatha de Danann itself, in yet another incredible chapter in the trajectory of one of the most important bands in the history of Brazilian metal. For us, on this side, all that remains is to hope and wait for many more chapters in this long and fantastic story.
The album is already on sale on the Tuatha de Danann website and on the Heavy Metal Rock page. It will soon be available on all streaming platforms.
Luis Fernando Ribeiro's grade: 9.6
Leandro Abrantes' grade: 9.5
