BLOODSTOCK OPEN AIR 2008

DATE:

VENUE:

Friday 15th August - Sunday 17th August 2008

Catton Hall in Derbyshire, UK

FRIDAY

SATURDAY

DIMMU BORGIR; ICED EARTH; SOILWORK; NAPALM DEATH; MOONSORROW; COMMUNIC; SWALLOW THE SUN; ELUVEITIE; RISE TO REMAIN; CLOUDSCAPE

SUNDAY

NIGHTWISH; AT THE GATES; OVERKILL; AS I LAY DYING; KATAKLYSM; MOB RULES; GRAND MAGUS; ALESTORM; CROWNING GLORY; HEAVEN'S BASEMENT

OPETH; HELLOWEEN; SOULFLY; PRIMAL FEAR; DESTRUCTION; AKERCOCKE; TYR; PRAYING MANTIS; EVILE; SAINT DEAMON

CLICK HERE FOR SUNDAY PART 1

HEAVEN'S BASEMENT

Commencing proceedings at 11am on the third and final day of Bloodstock Open Air 2008 are British rockers Heaven's Basement. Originally called Hurricane Party before assuming the name Roadstar, the band split up only to resurface under their latest guise. Playing hard-edged rock with a genuinely infectious 70s inspired pseudo-stoner groove, Heaven's Basement are perhaps an ideal band for this time of the day, as they confound Bloodstock's early morning audience with an astonishingly energetic performance. Is this glam rock? Hair metal? Contextually, in 2008, they have simply been labelled as rock by most of the media, but pertain to some of the generic stylings of NWOBHM, and such material would certainly be branded as metal back in the early 80s. However, this is 2008, and Heaven's Basement are irrefutably a hard rock band...and a very good one at that. Vocalist Richie Hevanz is in fine voice, with his skilled singing elevating the band a big step above Bloodstock 2007's hard rock offerings (the abysmal Voodoo Six and slightly better Exploder). Their half hour on stage climaxes with the up-tempo, groove infused 'Executioner's Day', wrapping up a succinct, no-nonsense set of retro-sounding revelry. Hideously clichéd and completely unoriginal, although incredibly good fun, Heaven's Basement have mastered their chosen musical path to perfection.

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SUNDAY 17th AUGUST - PART 1

CROWNING GLORY

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ALESTORM

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GRAND MAGUS

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MOB RULES

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Next up, another Brit band, and more distinct retro flavours in the form of London based Crowning Glory. Generally conveying a retro-image of Maiden circa-1980, it is kind of predictable before the band play a single note what they will sound like and, as they commence with opening number 'Dead Man's Paradise', my preconceptions are confirmed. When a band indulges in overt musical pastiche of its idols, so oft is the phrase "wearing its influences on its sleeve" used. Well, this is most certainly the case with Crowning Glory and also, in a literal sense, as frontman Robert Alexander's leather biker's jacket is adorned with an Iron Maiden 'Killers' back patch, and guitarist Tom Draper wears a 'Somewhere In Time' t-shirt. As with Heaven's Basement, there are no pretences here, just good old fashioned early 80s pastiche - the band even declare their music as 'Real Heavy Metal' on their homepage for godsake! However, I've often said that there's a very fine line between pastiche and plagiarism, a line that Crowning Glory occasionally cross as with set closer 'Sea of Dead Dreams' which is perhaps a little too close to Maiden's '2 Minutes to Midnight' in its opening bars. That said, Crowning Glory are another fine example of a contemporary retro-metal band in terms of how it should be done, and their lively performance is well received by the modestly sized crowd gathered at the main stage. I even glimpse members of Grand Magus nodding along to each tune!

Having only managed to catch the tail-end of Alestorm's set as opening support act for Turisas' headline UK tour in Peterborough earlier this year, today presented me with the opportunity to witness what people have been getting so excited about over these self-proclaimed "True Scottish Pirate Metallers". And it seems curiosity had got the better of many more, with one of the weekend's largest crowds gathered to witness the heavy metal pirates in action. A compère appears to ask the audience "are you ready for some pirate metal?", to which people reply en masse with the apposite response of "yarrrr", then the band themselves appear, walking on stage to 'The Fresh Prince of Bel-Air' theme music. This sets the tone for Alestorm's performance, where the emphasis is firmly on fun and tomfoolery, perhaps making the Scotsmen the perfect festival band. Frontman Christopher Bowes, with a wry smile, comically declares "we are Alestorm from Jamaica" before they launch into opening song 'Over The Seas'. With guitarist Gavin Harper and bassist Dani Evans in customary Scottish attire, and with the day significantly breezy, I find myself hoping the wind wouldn't reveal whether they wear kilts in the 'traditional' Scottish manner! Fortunately, during the band's forty minute set, this question remains unanswered, as Alestorm work their way through the likes of 'Nancy the Tavern Wench', 'Set Sail and Conquer', 'Wenches and Mead' and 'Terror on the High Seas', all fan favourites judging by crowd reactions and the vivacious pits that ensue. Alestorm are undoubtedly talented musicians, and obviously serious about the music they play, achieving the perfect balance between compositional proficiency and congenial merriment. This is a fine line to tread, but Alestorm do it well, with Bowes' between song banter refreshingly unpretentious, such as when he yells in a high, squeaky voice "scream for me Derby....I've always wanted to do that!". Closing their set with 'Captain Morgan's Revenge', Alestorm exit the stage to loud cheers from a clearly satisfied crowd. A fine performance, although I adhere to my previous (minor) criticism - for a band overtly based on a pirate aesthetic, they just don't look piratey enough! Rather, their fans are left to exhibit the piratical imagery with some dressed in full pirate attire and others waving large skull and cross bone flags.

I last saw Grand Magus in the Camden Underworld earlier this year, sandwiched between headliners Primordial and opening band Mael Mordha, and remember not being overly impressed...or perhaps I just wasn't in the mood for their brand of stoner metal. I guess this was to do with the context of the evening as they seemed a little misplaced on such a bill. I'd always been a fan of the Swedish trio's frontman Janne 'JB' Christoffersson's singing though his accomplished vocal work in Spiritual Beggars, so hoped that Grand Magus would fare better today, at least in my own enjoyment. With a vibrant and booming sound through the PA and perfect mix, the Swedes entertain Bloodstock's audience for around forty minutes with a series of infectious groove-infused compositions. Second song is confusingly introduced by JB as a celebration of Britain's latest gold medal acquisition in the Beijing Olympics, but bearing in mind this is for rowing accomplishments and the song is called 'Like The Oar Strikes The Water', all becomes clear as they launch into the track! And I am far more impressed by Grand Magus today than at the Underworld in February. JB delivers note perfect vocals with his strong, wide-ranging voice steering each song through a melodiously powerful, laid-back stoner vibe. Bassist Fox, co-founding member of the band (along with JB), provides skilful vocal harmonies, particularly impressive on 'The Shadow Knows'. The respectable sized crowd (although noticeably smaller than for Alestorm) are visibly appreciative of Grand Magus' retro metal output with much good old fashioned head banging on display. A fine performance.

Next on stage are German progressive metallers Mob Rules, and their appearance at Bloodstock marks the occasion of their first ever UK live show. Formed back in 1994, they are a band that have largely passed me by over the years despite reading mainly positive press about their music/performances. Entirely unfamiliar with any of their material, I watch/listen open-mindedly. As they begin to play, my initial reaction is that they are one of the many hundreds of bands out there who label themselves as 'progressive' whereas they are actually only such in a generic sense rather than actually progressive. I've argued this before, and I shall reiterate here; I believe there to be two main types of progressive bands - those that stylistically sound similar to other bands already labelled as progressive, and the rarer breed of band that genuinely progresses musical genres through compositionally experimental dynamics. Based on what I hear today, Mob Rules are firmly rooted in the former camp and, for that reason, offer nothing by way of originality. We're talking mimicry rather than transcendence here. Having said all that, the German sextet are clearly talented songwriters, and I'm impressed by their onstage energy - particularly frontman Klaus Dirks, as he leaps around with assured determination while pulling some amusing facial expressions. There is a fair crowd gathered to watch Mob Rules, although most opt to sit around and just listen which I put down to either third day festival fatigue, or apathy towards the band and their music. Probably a combination of the two. A shame really, as Mob Rules deliver a musically accomplished (albeit unoriginal) performance.

Reviews & Photography by Mark Holmes