BLOODSTOCK OPEN AIR 2010

DATE:

VENUE:

Friday 13th August - Sunday 15th August 2010

Catton Hall in Derbyshire, UK

FRIDAY

SATURDAY

CHILDREN OF BODOM; FEAR FACTORY; DEVIN TOWNSEND; AMORPHIS; OBITUARY; EDGUY; ONSLAUGHT; LEAVES' EYES; ANDROMEDA

OPETH; MESHUGGAH; POWERWOLF; SONATA ARCTICA; GORGOROTH; CATHEDRAL; ENSIFERUM; RAGE; ROSS THE BOSS; BLACK SPIDERS

Reviews by Elena Francis & Mark Holmes; Photography by Mark Holmes

SUNDAY

TWISTED SISTER; CANNIBAL CORPSE; BLOODBATH; GWAR; KORPIKLAANI; DORO; HOLY MOSES; SUFFOCATION; BONDED BY BLOOD

Reviews by Elena Francis & Mark Holmes; Photography by Mark Holmes

ANDROMEDA

After having their debut UK appearance stalled following the cancellation of the British incarnation of ProgPower in 2008, Swedish prog-metallers Andromeda have finally made it over to these shores to open up the second day of this year's Bloodstock Open Air. As with the previous day, an early start of 10:30am does not deter a significant amount of people who have formed a sizable crowd in front of the main stage. Better still, Andromeda have been afforded a half hour slot compared to the twenty minutes permitted for each of the opening acts on Friday/Sunday, and the Swedes make the most of such an opportunity with a tight, professional and engaging display of virtuoso musicianship. On an overcast morning that threatens yet more rain for festival attendees, the heavy clouds at least engender darker conditions whereby impressive stage lighting becomes visible and provides a more dramatic backdrop against which they perform. From opener 'The Words Unspoken' to final song 'Periscope', Andromeda entertain Catton Hall's early risers with five tracks of flawless prog precision and, looking discernibly pleased to be playing at the festival, frontman David Fremberg declares mid-set - "It's excellent to come to England" which, judging from the warm reception the Swedes receive, many present are also happy they eventually got to play on British turf (albeit muddy turf from a weekend of sporadic showers thus far). Fremberg is in fine voice throughout with a powerful vocal performance while guitarist Johan Reinholdz demonstrates his fretboard skills with some stunning lead work, and bassist Fabian Gustavsson helps maintain visual interest with a multitude of amusing facial expressions to accompany his dynamic style of playing. A great performance from a talented band. Let's hope they make it back over here again soon. (MH)

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SATURDAY 14th AUGUST - PART 1

LEAVES' EYES

Over in the UK four and a half months previously as main support for Kamelot's show at the Koko in March, Leaves' Eyes return here for what is only their second festival appearance on these shores (the first being ProgPower in 2007). The stage fills with smoke as the atmospheric intro music from last year's 'Njord' is played through the PA, and it seems they have a fair number of fans present in the audience judging by the loud cheers that greet them as they casually wander out onstage and launch into said album's title track. Second track from 'Njord', 'My Destiny', follows with its infectious riffing encouraging many to bang their heads and clap along to the song's mid to up-tempo groove before they proceed to play 'Emerald Island' and 'Take the Devil in Me', tracks three and four from, yes, 'Njord'. With closing number 'Frøya's Theme' also from the band's latest release, it seems somewhat of a peculiar decision not to represent any of their other albums in such a succinct festival set, particularly fan favourites such as 'Elegy'. However, the new(ish) material is both well received and well performed. Liv Kristine brings a little grace and elegance to Bloodstock's stage attired in one of her trademark flowing dresses with her soprano vocals oozing euphonic charm while husband Alex Krull contraposes such euphony with his aggressive death growls. Beyond just a mere growler, he's also effective at geeing up the crowd during passages of music devoid of his vocals, and his presence is one that demands attention as he wanders around the stage with his bulky frame, headbanging with locks so long it looks like the man's not had a haircut since the age of five. Overall, far from a festival stealing performance, but a solid and enjoyable one nonetheless. (MH)

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ONSLAUGHT

“SPITTING BLOOD IN THE FACE OF GOD!” It can only be Onslaught, prepping the fans for what lies ahead with opener ‘Killing Peace’ scything the mud-laden crowd into immediate mosh pit frenzy. The thrash titans are on full form with vocalist Sy Keeler stomping around the stage while rasping out violent poetry, matching the rabidity of original screecher Paul Mahoney on the ‘Power from Hell’ debut. The setlist essentially mirrors all the other sets the band’s played since the release of ‘Killing Peace’ in 2007. All albums are represented with the exception of blunder ‘In Search of Sanity’; ‘Let There Be Death’, ‘Metal Forces’, ‘Planting Seeds of Hate’ and ‘Burn’ are ingested superlatively by the thrash hordes. Onslaught’s thrash style is intricately unique with particularly dark and heavy riffs, more likely to be found in black thrash metal bands than the straight-forward thrashers, but of course Onslaught stay clear from the black metal sound. Summing the sound of Onslaught triumphantly is the gritty ‘Onslaught (Power from Hell)’ closer, which force-feeds the audience with muscular thrash riffage that thrashers can truly get their teeth into before the curtain falls on what is a spectacular performance. Also, during the set, Keeler states that the following day, Onslaught will be heading over to Denmark to record the new album so expect more high octane live shows in the future. (EF)

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EDGUY

A great indicator of how Bloodstock has grown in such a brief space of time is the fact that Edguy have been presented with an early afternoon slot, whereas in 2006 they were a headlining act and it would appear that singer Tobias Sammet has noticed this too as he states his reserved disdain for playing so early. The fun-loving Germans kick off with ‘Dead or Rock’ from their latest studio effort ‘Tinnitus Sanctus’, followed by ‘Speedhoven’ from the same release. Although these are not the prime cuts from this album in this reviewer’s mind, the set vastly improves from here on out. The hard rock/power metal material suits the festival atmosphere sublimely but the older, straight-forward power metal songs truly get pulses racing. ‘Tears of a Mandrake’ and, as Mr Sammet himself states, their Europe ‘Final Countdown’ rip off ‘Vain Glory Opera’ instil their grandiose atmosphere into the bog-like field. However, bassist Tobias Exxel is absent and Sammet informs the crowd that he is at the birth of his child. Replacing him is none other than Helloween’s curly-haired Markus Grosskopf, who is clearly enjoying his time on stage with his cartoon-style smile. In fact, the entire line-up puts effort into making the show incredibly appealing and Sammet is a model power metal frontman, bounding around and interacting with the audience. Occasionally, his chin flaps too much with unnecessary commentary which could undoubtedly be substituted for at least one full song. The light and fluffy ‘Superheroes’ is another musical side of Edguy showcased in the set, ultra melodic and stripped of some of its metal for a particularly modern and sleek frame. It is followed by the classic ‘King of Fools’ that closes the set with another sing along moment and Edguy have certainly provided yet another premier appearance. (EF)

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OBITUARY

In what feels like a complete audience turnover, American death metal icons Obituary take the stage, beginning with the sturdy instrumental ‘Redneck Stomp’ before vocalist John Tardy joins in for ‘On the Floor’ behind a veil of cascading blonde curls. It appears Obituary do what fans wish most bands to do and that is play a couple of songs from their latest musical venture near the start of the set to get them out of the way then exhume the classics for the remainder of the show. After ‘List of Dead’ and ‘Blood to Give’, the self-confessed rednecks presented the audience with a compilation of their finest work from all their albums except the very underwhelming ‘World Demise’ (and for good reason), including ‘Chopped in Half’, ‘Turned Inside Out’, ‘Threatening Skies’ and ‘Slow Death’. While they may not be the most varied death metal act in the scene, Obituary’s brand of death metal is unmistakeable, straddling into slow doom metal tempos and laden with brutal groove with Tardy’s inimitable pained yelps over it and translates impressively on a large stage. The audience responds positively to the straight-forward yet austere performance. The rhythmic nature of the Floridians’ music provides vast opportunities for headbanging and indeed hair is constantly flying among the congregation. ‘Evil Ways’ sees what appears to be Obituary tradition when John Tardy helps his brother Donald Tardy on the drums with two of them pounding away on one kit. When ‘Slowly We Rot’ arrives, all know the end is nigh for the death metal veterans and a final outburst of energy aptly brings the set to a close. (EF)

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