Bands: Wasp, Therion, Motorhead and more
Location: Catton Hall, Walton-Upon-Trent
Date: 12-14th August, 2011
It’s August again – and time for the Metal Militia to mobilise, monster-like, and materialise in the munificent meadows of Catton Hall, Derby for another magnificent Bloodstock Festival.
Bloodstock is a festival ‘by the fans, for the fans’ and the organisers genuinely cater for this by running active online forums and IRC chatrooms (in which they participate), taking into account the festival-goers’ suggestions each year to improve the event. Having attended four previous Bloodstocks (2007, 2008, 2009, and 2010), Bloodstock 2011 was, by 12 parsecs, the best Bloodstock I have attended.
Disclaimer – I attended this festival as a fan and a punter rather than as official press. I was not able to see every band due to conflicting stage times, hangovers and basic human needs such as food, water and ale. Additionally, while this review does cover bands in the black / death / grindcore genres, due to my personal preferences in music, I saw many more power / melodic metal acts, so the review will tend toward these bands.
Having queued in the past for – literally – hours to enter, I was pleasantly surprised at the efficiency and organisation of the door staff. Arriving approximately half an hour after the gates opened, we were through the entrance and pitching our tents within 15 minutes.
The layout of Bloodstock was well thought-out, with the camping areas clustered around the main arena and festively named ‘Valhalla’, ‘Asgard’, ‘Midgard’ and ‘Hel’. ‘Hel’ was the quiet camp and provided a positive environment for families and others who did not wish to be disturbed by revellers late into the night. A small fairground was set far enough back that the noise from the rides did not disturb the enjoyment of bands on the Ronnie James Dio (main) stage and a market brimming with music stalls and alternative clothing and jewellery offered a variety of products that can be difficult to find out in the mundane real world.
The only negative aspect of the layout is that, for the past two festivals, the New Blood stage is at the side, beyond the Ronnie James Dio stage and near the Bloodstock Arms bar. In 2008, the stage was placed between the arena entrance and the main stage, which meant that many bands drew in a crowd due to simply overhearing something they were interested in listening to. Its current placement meant that crowd members had to make a conscious effort to go and check out unsigned talent and this meant that some acts which could have had bigger crowds simply didn’t.
Four stages offered a variety of acts, with the Jaegermeister stage and Ronnie James Dio stage alternating showtimes, which meant that, without moving from a vantage point just behind and to the right of the sound desk, patrons could enjoy eight hours of almost interrupted music – without even venturing to the Sophie Lancaster tent (second stage) or the New Blood stage (which housed unsigned acts). In general, as well, acts on Sophie and New Blood stages were of a different genre to the Ronnie James Dio stage, which meant that there was always something of interest to watch, catering for the wide variety of tastes that rockers have cultivated.
Security at the arena entrance was tight as they searched bags / pockets for weapons and alcohol (got to protect the beer sales in the arena!). Showsec staff, mostly, were pleasant, friendly and joked with the crowd as they filtered through. The proximity of the campsite and the efficiency of the Showsec staff meant that it was easy to move quickly between the camping areas and the main arenas. The festival cloakroom also provided a secure place to store bags, phones, coats and purchases from the market stalls – my husband and I purchased a weekend ticket at £16 and found the service invaluable for keeping our goods protected while he went to play in the circle pits for…pretty much the entire weekend.
Toilets, while offensive to the olfactory sense, were generally clean and well-stocked, especially in comparison to Download, Sonisphere and previous years. Showers were available in the Midgard camp for £3.00, though a ‘no time limit’ policy meant that queues were longer than the M1. (I did not partake. I don’t have to smell myself.)
The Jaegermeister stage provided an acoustic venue and offered the opportunity to see bands in a different light and in what felt like an intimate environment.
Alternative Carpark – Mark (vocals) started the gig with a good crowd rapport, offering good-natured abuse to festival-goers as they walked past the stage following Coroner’s set. His clear baritone voice and easy nature drew in an audience, who appreciated friendly banter and the band’s distinctive, eclectic style. The mixture of metal and blues with a funk-style slapping bass got the audience grooving and created a feel-good atmosphere.
Rannoch – Unfortunately, I was not able to see this band ‘plugged in’ but their acoustic set showed their strength as musicians, with interplay and harmonies between the guitars and bass. The vocals oscillated between an accomplished death metal growl and occasional, contrasting clean vocals. The band seemed at ease on stage and the addition of an Irish drum (and drummer) borrowed from Middle Age-inspired death metal band ‘Haerken’ added a folk element that gave the music a unique dimension.
Obsessive Compulsive – Energetic and driving, Obsessive Compulsive’s set comprised dark, anthemic tunes complimented by Kelli’s powerful, gravelly, alto vocals. A confident frontwoman, she genuinely appreciated the audience’s enthusiastic response and expressed her gratitude to the festival for their work with unsigned musicians. As the bass pulsated, driving riffs and intricate guitar work got the crowd’s heads banging
Guardians of Andromeda – This band is one of my favourite finds of the weekend. An easy nature and sense of humour go a long way in a cosy environment like the Jaegermeister stage – and frontman Mikael has both in spades, along with a tenor voice that is reminiscent of Hansi Kursch of Blind Guardian fame. Confident guitar work and haunting melodies with a tribal undertone further sustain the fantasy-world feeling of being transported to realm of mystery, honour and valour. Layers of vocals gave a more orchestral feeling to the acoustic set. Joined by Sarah, of Zocolo fame for the last songs, intertwining tenor and alto vocals wrote a story which was supported by inter-band interactions reminiscent of powerful, classic musical theatre duets. Guardians of Andromeda’s music is a gourmet recipe, drawing ingredients from the whole world of music, rather than simply metal and the final product is nothing short of extraordinary.
New Blood Stage
The New Blood stage showcased some of the best unsigned metal acts that the UK – and Europe – have to offer. Venues across the nation and in Norway hosted ‘Metal 2 the Masses’ heats and the winners of these competitions were handpicked by Bloodstock organisers and the founder, Simon Hall.
Entro-P – Jake’s dark, driving bass pushes Entro-P’s songs forward and several tempo changes into Meshuggah-like non-standard time signatures are ably managed by Sean, giving Entro-P’s music a sensation that takes them out of the realm of normal run-of-the-mill death metal bands. Expert tremolo picking by the guitarists, along with several complex articulations combined to create a bed of nails upon which the growling vocals can rest. All elements merged to create a gritty, doom-laden sound that is heavy as a two-tonne weight in a black hole.
Training Icarus – Vacillating between dark, heavy songs and lighter, happier tracks, Training Icarus showed a breadth and depth to their repertoire and musical talent. Frontwoman Leigh displayed a strong passion throughout the entire set. Enchanting mezzo/alto/belter vocals rested comfortably on top of Maidenesque guitars and metronone-like, driving drums. Infectious, anthemic choruses became brainworms that refused to leave. (I found myself humming ‘Nightmares’ days after the performance.) Orchestral accompaniments provided atmosphere between the songs. The backing track also sat low enough in the mix to add a subconscious feeling of fullness while sampled harmonised vocals emphasised key phrases and gave Leigh the opportunity to provide soaring descant ad-libs over repeated choruses. In a day when metal bands often never find their way out of minor keys, the bouncy, quick-tempo, major-key tracks provided a welcome contrast that left a happy, lively feeling.
Brezno – ‘Innovative, exciting and stunning’ are the three best adjectives to describe this band. Hailing from Slovenia, the seven-piece band’s half hour set on the New Blood stage took the crowd by surprise and by storm. Keyboards, violins, wind instruments and four vocalists, ably led by Sara wove a tribal blanket of sound that was comfortably worn by everyone in the New Blood tent. A traditional Irish folk feeling haunts Brezno’s music and the lilting melodies call forth images of warriors fighting for honour, justice and truth.
Soulsphere – Despite their vocalist being unable to attend, atmospheric doom metallers Soulsphere pulled off an energetic performance with ably ad-libbed lyrics provided by stand-in Gary from the band Fallen Few. Brutal, heart-pounding riffs overdriven by a thumping bassline and jackhammer-like drums offered a suitably aggressive base for Gary’s throaty growls. Soulsphere’s brand of in-your-face metal is like a left hook to the jugular – swift, brutal and leaves you gasping for breath.
Sacred Illusion – If Iron Maiden ever decide to retire and create a reality TV programme where the younger generation audition to replace them, these guys are it. The frontman – Bruce – beyond being the namesake of one of the best voices in metal, shares with Dickinson a stunning tenor voice with an operatic tone found in the very best power metal bands. A driving rhythm section created a strong foundation, which face-melting lead work uses as a launch pad into the heavens with spiralling riffs and anthemic melodies. Tighter than many signed bands, if Sacred Illusion carry on delivering blistering performances as they did on Sunday, they will skyrocket to the top of the metal mountain in no time.
Twilight’s Embrace – Dark doom metal with some floating melodies over the top comprised Twilight’s Embrace’s set. Frontman Dee effortlessly switches between clean vocals and a powerful, death metal-inspired growl. Clean guitar behind chugging power chords creates an ethereal sensation and lonely distorted lead creates echoes of emptiness reminiscent of some Opeth tracks.
Sophie Lancaster Stage
A new addition last year, the Sophie stage this year was much more effectively used to showcase a range of bands, giving crowdgoers an alternative to the music on the Ronnie James Dio stage.
Evil Scarecrow – Parody black metal is a risky style of music. Black metal in itself is quite obscure and oftentimes black metal fans can be somewhat elitist about the genre, rejecting what could be seen as an attempt at poking fun. However, Evil Scarecrow have persevered through being ignored by metal record labels and have, grass roots style, cultivated a massive fan base who packed out the Sophie tent (capacity approximately 3,000) on Sunday. Post-gig Facebook updates have also hinted that the band members themselves handle all merchandise sales – they are the very definition of a DIY metal band. Tight as a watch spring, the five-headed, ten-legged monster appeared overwhelmed and humbled by the response of the crowd, including several crowd members who came decked out in full robot regalia for the band’s signature tune ‘Robototron’. Tracks with interweaving melodies such as ‘Blacken the Everything’ and challenging changes between time signatures such as ‘Vampyre Trousers’ affirmed that the best way to parody any sort of music is to be accomplished musicians who write good music – then add in satirical lyrics and a ‘bloody’ good stage show! Doctor Hell’s sung introduction to the most metal cover of all – ‘The Final Countdown’ – in a clean, strong baritone voice also proved what black / death / thrash metal fans have known for years: to be a good growler, you must first be a good vocalist! True fans of metal, the band members could be seen throughout the festival not just on the Sunday but throughout the weekend – and despite the overwhelming response to their music they were still humble, down to earth and genuinely thankful to the crowd.
Powerquest – With soaring, screaming guitar riffs that flew fast as lighting from the fingers of Andy Midgley and Gav Owen, melodic and atmospheric keys from Steve Williams and some frenetically fast drumming from Rich Smith, melodic metallers Powerquest unleashed a tsunami of sound that reverberated throughout the Sophie tent. Elevated over the top of this frenzied orchestration were supreme vocals from Chitral Somapala that cut through the music like a hot knife through butter. Reminiscent of Fabio Lione (Rhapsody of Fire) and ZP Theart (ex-Dragonforce), Chitral’s operatic tenor voice and passionate performance provided the icing on the cake (an extremely powerful cake) of a musically accomplished band.
Amaranthe – An unusual blend of three vocals – a male growler, a clean tenor and a mezzo / belter female – Amaranthe has a very unique sound. With thundering bass and melodic guitars providing a scaffolding for these three to climb to the stars, the mixture of vocals was novel. I was disappointed to say that the sound during this set was of less quality than previous performances (at one point the left speaker stack cut out completely) so at times it was difficult to differentiate between Elize (female vocals) and Jake’s (clean male) vocals. Animated interactions between the vocalists onstage made the band fun to watch as well as listen to – a strong performance from all involved.
Ronnie James Dio Stage
Named after the fallen legend, the RJD stage was the main stage in the arena, housing the very best of metal talent from all over the world.
Wolf – Classic metallers Wolf, hailing from Sweden, put in a solid performance that was full of fun and life. Niklas and Simon’s lead and backing vocals intertwined like ivy and the guitars and bass provided a thrumming support that was like a magnetic draw to headbang. The band draws clear influences from 70s and 80s metal bands such as Iron Maiden and Judas Priest which could be heard in their galloping riffs and seen in their enthusiastic stage show.
Forbidden – Circle pits erupted almost instantly during Forbidden’s set as Matt Camacho’s gritty bass thundered. Craig Locicero and Steve Smyth provided sweeping, face-melting accompaniment on the guitars with brutal, in-your-face riffs. Forbidden is a band grounded firmly in American early 90s thrash –reminiscent of very early Metallica – and these guys have stuck to this overall feeling in their music. Russ Anderson’s vocals – almost a scream, almost a shout and almost sung – add to the aggressive and brutal tone, building a 45 minute wall of anger that swept over the cloud like a thunderstorm.
Triptykon – Arising, phoenix-like, from the ashes of Celtic Frost, Triptykon’s heavy, doom-laden sound slowed down the pace of the day and provided a welcome rest from the circle pits and frenzied pace from earlier. Tom Gabriel Warrior’s part whispered, part growled, part sung vocals created a sense of intimacy in an open field designed for 10,000 people – not an easy task! Slow, heavy guitars painted a backdrop of darkness for the anger-fuelled lyrics and created a sense of trepidation in the crowd. Solos drifted over the top like a murder of crows, hanging heavy in the air.
Coroner – With a slow, melodic, acoustic introduction, Coroner misled audience members unfamiliar with their work to believe that their set would be a laid back one – this was definitely not the case! Self described as ‘technical thrash metal’, Ron Broder (bass) and Tommy Vetterli (guitars) illustrated this expertly, alternately juxtaposing intricate melodies and layering complex, galloping riffs that ploughed forward like a steam train. Marky Edelmann’s drums drove the music forward while never drawing emphasis from the melody at hand. Ron’s vocals were strong, a gravelly tone – almost a scream – and they rested comfortably on top of the guitars.
Wasp – Enthusiastic crowd interactions from front man Blackie Lawless created a feeling of togetherness in the crowd. The band seemed genuinely pleased to play the festival and they involved the crowd by running competitions and even pulling a fan from the crowd to sing ‘I Wanna Be Somebody’. Catchy songs and natural showmanship left the audience calling for more. Their choice of a ballad encore was unusual but finished off the day quite nicely, in a peaceful and happy ambience.
Tarot – Marco Hietala, of Nightwish fame, fronts this classic style metal band that were widely requested on the Bloodstock forums. Marco’s voice is incredibly unique – a gravelly baritone that often spirals into a higher, distorted tenor. Contrasted with Tommi Salmela’s classic rock style falsetto, the two men’s voices criss-crossed into a tapestry of pure energy. Zachary Hietala’s melodic guitar and Janne Tolsa’s keys similarly supported each other, alternating lead that floated above Marco’s metronome-like bass. Despite tripping over Tommi and one point and falling down backward onto the stage, Marco’s playing was solid and his frontmanship is second to none with humorous stories between songs and enthusiastic interaction with the crowd. The members are all clearly at ease and comfortable with each other, laughing their way through the set and genuinely enjoying each other’s company onstage, interacting effortlessly and occasionally poking fun at each other in a light-hearted way. Tarot appeared to really enjoy playing Bloodstock and the overwhelming sensation of happiness swept over the crowd, who eagerly chanted for them to return.
Finntroll – Black folk metallers Finntroll are repeatedly one of the most requested bands on the Bloodstock forum. With two keyboardists and three guitarists (‘Trollhorn’ doubles), intricately intertwining melodies rolled forth at the speed of light, evoking images of Middle Earth or of days long gone by. Catchy melodies flowed easily over heavy guitars and several pits erupted at once when they played their signature tune ‘Trollhammaren’ with several crowd members dancing Irish jig-style. Windmilling instrumentalists added to the spectacle and Vreth’s growling vocals fit easily into the mix, loud enough to be heard but not so loud as to distract from the melodies cascading from the keys and guitars. While it would have been nice to see the band in full regalia (fake troll ears and all), they put in an exciting and energetic show.
Ihsahn – Black / progressive metal, Ihsahn (from Emperor stock) provided – at times – screaming, blistering riffs that exploded off the stage, with aggressive, growling vocals and melodic keyboards. The machine gun-like staccato of the drums carried the melody forward in these tracks. Contrasting, slower songs carried a sense of trepidation, supported by the rasping black metal inspired vocals.
Wintersun – Hotly anticipated by fans who feared that the band would pull out of the festival, as they have in the past, Finnish folk metallers Wintersun did not disappoint. Switching between lightning-fast, syncopated, tremolo-picked, euphoric riffs that burst from the stage and slower, sweeter melodies that evoked a sense of peace and sorrow, Wintersun truly showed their range as musicians. Enthusiastic frontmanship accompanied a tight set. Jari Mäenpää’s vocals provided a rougher contrast to the smoothness of the music; his clear enunciation meant that his lyrics could be easily understood. Solid double kick drumming from Kai Hahto added to the frenetic feeling of the faster songs, while providing articulation and accompaniment to the slower tunes. The melody lines are infectious and memorable, providing a testimonial to the fans that their pleas for Wintersun’s appearance have not been in vain.
Therion – If Wagner had Marshalls, he would have written this. Combining the very best elements from classic opera and heavy metal, Therion is the most innovative band I saw throughout the weekend. Each song told a story, ably pantomimed and staged by four talented vocalists. Samples added to the orchestral, operatic feeling of the music, in addition to a melodic flute solo. The set started off slowly with ballads, and the band’s new mezzo soprano vocalist (Linnéa Vikström – Thomas Vikström’s daughter) was introduced. Lori Lewis’ coloratura soprano easily soared over the top of the other three vocalists, providing descants that spiralled into the stratosphere in a clear, piercing tone that would make Sarah Brightman jealous. As the band moved to heavier songs, the instrumentalists struck traditional metal poses, headbanging and interacting with each other, which juxtaposed effectively with the vocalists’ theatrical performances. The pent-up energy of the crowd exploded. The best way to describe this performance would be as a Gothic rainbow of energy and sound – eclectic, powerful and amazing.
Rhapsody of Fire – Possibly the most technically accomplished guitarist in the metal scene (if not the world), Luca Turilli’s fingers of flame did not disappoint the thronging crowd. With such an accomplished musician in a band, it can happen that other musicians become overshadowed – however, this was distinctly not the case! Patrice Guers’ jackhammer-like bass seemed glued with industrial strength adhesive to Alex Holzwarth’s drums, over which the guitars could leapfrog. Fabio Lione’s vocals were strong and clear, like golden laser beam shooting over the crowd. Christopher Lee’s voice provided a suitably epic introduction. The inclusion of the Italian language ballad ‘Lamento Erocio’, while a strange choice, was a fantastic performance, delivered with sentiment and intensity that brought a tear to the eye. Finishing strong with the frenetic, harmonised ‘Emerald Sword’, Rhapsody of Fire’s performance lifted the mood in the audience to euphoric levels and left them begging for more.
Hammerfall – With a slightly odd set list that left out a number of old classics (‘Renegade’ for one), Hammerfall, nevertheless, gave an enthusiastic performance with a number of songs that got the audience singing along, including the Quiet Riot cover ‘Bang Your Head’. Joacim Cans’ voice was on top form and his easy nature with the audience created a lively, fun atmosphere of celebration. Changing between slower, heavier songs (‘Last Man Standing) and technical, intricate songs that sped faster than a speeding bullet, Hammerfall clearly demonstrated their range as musicians. As they ended with the anthemic ‘Let the Hammer Fall’, the 45 minute set seemed far too short.
Motorhead – A statement released after Bloodstock explained that the three-piece hard rock band had been suffering from a virus which explains why their performance was not up to the standard expected by their fans. Firebreathing girls added some spectacle and guitarist Phil Campbell did his best to take over frontman duties, offering an extended guitar solo. Drummer Mikkey Dee had to leave the stage at one point but returned to perform a phenomenal drum solo from his perch high above the stage. Disappointingly, the band finished 20 minutes early after a somewhat lacklustre performance – while this was explained in retrospect on the Bloodstock forums, it would have been preferable to have that explanation on the night because, after the quality of music heard all weekend, the disappointing act of the final headliner left the festival on a bit of a down note. If there had been an official explanation before or just after Motorhead’s performance, the crowd would have been grateful to the band for making the effort to come on and play, despite less than ideal circumstances, rather than disappointed and annoyed.
Overall, Bloodstock this year was the best Bloodstock I have attended in terms of organisation, variety of bands and atmosphere. Well done to the organisers and roll on BOA 2012!