BLOODSTOCK OPEN AIR 2011

DATE:

VENUE:

Friday 12th August - Sunday 14th August 2011

Catton Hall in Derbyshire, UK

Therion on Bloodstock's main stage, 13th August 2011

Photograph copyright © 2011 Mark Holmes - www.metal-discovery.com

Reviews by Mark Holmes & Hannah Sylvester; Photography by Mark Holmes

(The Defiled; Wolf; Forbidden)

(Poisonblack; Triptykon; Coroner)

(Kreator; Devin Townsend Project; W.A.S.P.)

(Skeletonwitch; Grave Digger; Tarot)

(Dripback; Finntroll; Ihsahn; Northern Oak)

(Therion; Rhapsody of Fire; Immortal)

(Hell; 1349; Primordial)

(Napalm Death; Hammerfall; Exodus; At The Gates)

(Amaranthe; Morbid Angel; Motörhead)

Reviews by Mark Holmes & Hannah Sylvester; Photography by Mark Holmes

(The Defiled; Wolf; Forbidden)

(Poisonblack; Triptykon; Coroner)

(Kreator; Devin Townsend Project; W.A.S.P.)

(Skeletonwitch; Grave Digger; Tarot)

(Dripback; Finntroll; Ihsahn; Northern Oak)

(Therion; Rhapsody of Fire; Immortal)

(Hell; 1349; Primordial)

(Napalm Death; Hammerfall; Exodus; At The Gates)

(Amaranthe; Morbid Angel; Motörhead)

THERION

The annual curse of the band flight to Bloodstock now officially exists. After Devin Townsend and co lost a stack of stage gear on the flight over here in 2010, this year, unfortunately, it's the turn of Therion. However, you can't really tell as it doesn't affect their performance one bit, apart from the distinct lack of backline at the rear of the stage, which is aptly masked by “vocalist platforms” at either side of the drum kit. With Therion being one of the more theatrical metal bands, I did wonder how their performance would transpose from the atmospherically lit stage that works so well with their sets to a stage lit with bright sunshine, and there are some that it really doesn’t work so well for. However, from the opening bars of ‘Sitra Ahra’, any concerns are soon dismissed, and is testamant to the professionalism and skill of not only main man and founder Christofer Johnsson but also to the current group of musicians that are playing alongside him, most notably the amazing Snowy Shaw, who is gifted not only with an astounding voice and vocal range but boundless energy and enthusiasm that infects its way through the audience throughout their set. One of the more distinctive looking bands of the weekend, with Johnsson attired in top hat and shades (it is bloody sunny by this point), Shaw in a mini kilt, and Thomas Vikstrom in tight spandex trousers that maybe shows off a little more than they were intended to, all four singers, including new female vocalist, Linnea Vikstrom (yes, Thomas’ daughter, making her first and very confident appearance with the band at Bloodstock), don masks for ‘Hellequin’, a track that, live, really shows-off their finesse in the art of four part harmony. Finishing with two of their most well-known and classic tracks, ‘To Mega Therion’ from the ground-breaking ‘Theli’, and ‘The Rise and Sodom and Gomorrah’ from ‘Vovin’, the reaction of the crowd is rightfully massively appreciative and positive and as M.C. Rob comments onstage afterwards “I don’t know how we’re going to top that amazing performance”. Could Rhapsody of Fire be the band to do so? (HS)

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SATURDAY 13th AUGUST - PART 3

RHAPSODY OF FIRE

After the sympho-metal histrionics of Therion's performance it actually feels quite natural for Rhapsody of Fire to follow with their self-styled "film score metal", bound as it is to a symphonic aesthetic also. One of the most exclusive bookings in Bloodstock Open Air's history, this evening marks the occasion of the band's first ever live performance in the UK. And it would transpire a few days after the festival that it was unmitigated exclusivity after an announcement that the band are to split into two with the founding members, guitarist Luca Turilli and keyboardist Alex Staropoli, parting company - Staropoli to continue with Rhapsody of Fire and Turilli to reassume the Rhapsody name. So Bloodstock provided the final opportunity to witness the band in their erstwhile formation and, for many, including myself, the very first time of seeing them in action. As Christopher Lee's recorded, resonant voice booms forth from the PA to introduce the musicians as "mighty immortal warriors", fans cheer loudly with inflatable weaponry held aloft (which is a nice change from the inflatable cocks during Kreator's set yesterday, albeit still phallic of course). The band appear and immediately launch into 'Triumph or Agony' with its upbeat sympho-power essence the perfect sonic antidote for those who are feeling a little fatigued at this stage of the festival. And as the set progresses with a whole array of predominantly classic tracks from Rhapsody of Fire's back catalogue, it becomes apparent that nothing has, or will be, aired from the band's stunning new release, 'From Chaos To Eternity'. A serious pity as I personally rate that album amongst their finest work although with frontman Fabio Lione on tour as stand-in vocalist with Kamelot for a significant portion of 2011 then perhaps there had been little time to rehearse any new material for the live stage so adhered to a tried and tested setlist instead. Or maybe they simply deemed an hour long festival set, particularly their first ever performance on English soil, worthy of just classic material. Whatever the case, not one person of the rather large crowd seems disappointed as fans sing, move, and clap along to just about every tune played. 'Unholy Warcry' sounds particularly awesome although Tom Hess' guitar is noticeably louder than Turilli's which slighty abates the song's impact. And I have a whole new respect for Lione's vocal talents having now witnessed the man in action; his singing is particularly impressive on the more down-tempo 'Lamento Eroico' that shows off a wider range to his voice. Rhapsody of Fire's hour on stage seems to pass by in no time at all but, during such time, they provide Bloodstock's flagging audience with a flawless display of virtuoso musicianship in the context of some up-tempo, upbeat metal tunes adorned with the most infectiously catchy melodies heard on the main stage all day. Incredible band; incredible performance. (MH)

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IMMORTAL

What's immediately surprising before Immortal appear is the rather mammoth crowd that has accumulated by the Ronnie James Dio stage. I was aware that Immortal were a popular choice of headline act for this year's Bloodstock but had no idea they were that popular in the UK. I'm fairly certain that the last time they played on these shores, some years ago, it was in a fairly small club venue. Whether curiosity got the better of many, or the hardcore black metal fraternity had turned out en masse I am unsure, but I certainly hadn't predicted that the Norwegians would be capable of attracting one of the largest crowds of the festival. What's also striking is the large number of people, mainly those in their late teens, who have painted their faces in the same badger style corpse paint as Immortal - it's a very amusing sight that looks like a whole horde of kids have just returned from the animal face painting stall at a summer fete. Whatever the reason people have gathered to watch, it must surely be a disappointment to all that the band have a truly shit sound through the PA as they commence playing, a sound that is as lo-fi as their early recorded output. Matters do improve as they progress through their set although the loud crackling between every song is indicative of a dodgy lead somewhere that doesn't seem to be resolved. Still, the masses in attendance don't seem to let it spoil their enjoyment as mosh pits break out and crowd surfers sporadically materialise. Gerb and smoke pyros are used to good effect with fountains of sparks and billows of smoke erupting at key moments. In fact, an incessantly smokey environment on the stage provides the perfect atmosphere and mood for Immortal to perform. Of all the Norwegians' albums, 'Sons of Northern Darkness' is represented most heavily in the set, although there are nods towards their roots with airings of 'The Call of the Wintermoon' and 'The Sun No Longer Rises', the latter concluding their performance. As good as Abbath and co are, I can't help but think that Rhapsody of Fire would have been better placed as headliners. (MH)

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