This year’s festival attracted record amount of punters from as far and wide as Israel, Germany and the Netherlands, and as suggested by our friend Schmier from Teutonic thrashers Destruction is well on it’s way to becoming the “Wacken of the UK”. With such a diverse mix of artists appearing over three stages, there really was going to be something for everyone and ask three people who they were most excited about seeing your question was likely to be met with three contrasting answers.

And so began the festivities, which kicked off earlier than planned with a couple of bands added to the Lava stage at the last minute…and if you were feeling either very brave or very drunk there was always the option of making a twat of yourself on metal karaoke afterwards. (LH)

There was a bit of a surprise on the Thursday night when I found out that two bands I knew were playing the Lava stage. First up was Bradford’s Conquest of Steel and if you’re from Yorkshire and have not seen this band live, you must have your head buried in the sand. These heavy metal warriors live, sleep, play and even shit heavy metal! Their predictable set goes down a storm at Bloodstock, with such songs as ‘Victory and Death’ and ‘Only the Devil Can Stop us Now’, and even though they put on a good show I feel the sound is a little dated. They tell everyone that they are heavy metal through and through, and all bands should have swords. Swords are cool, but you can still be true heavy metal and sound modern. The crowd pleaser of the set is a cover of Dio’s Holy Diver which is played well, but I have the feeling that half the crowd only know the Killswitch cover which is a shame, but still an enjoyable set. (DH)

The other band is Midlands based Marshall Law who, strangely enough, have been compared to Judas Priest. Sorry, but I can’t see this at all. This is a band that I have only discovered in the last few years and have since become a big fan of. Andy Pyke once said to me that you can sacrifice skill for a good show, however this is a band who pull both off very well. Starting the set with the title track to their upcoming album Razorhead gave people a taste of the Marshall Law of today. And if this is anything to go by they should sell a good few albums, as the song is the heaviest thing they have done. They then continue with the classic Law sound with songs such as ‘Victory at Last’, ‘Empowerment’ and ‘Leviathan’ as well as a couple more new songs. With an energy fuelled show, the Law show the youngsters how it’s done. They are on top form and the crowd loves them. These guys have made a comeback and should be a force to reckon with in 2009! (DH)

FRIDAY

Even before they had played a note, it was guaranteed that Evile would be greeted like conquering heroes. The audience at the front were awash with their shirts, and flags of the Yorkshire rose were waving. Just coming out to do a bass check had the crowd screaming cheers for Mike, leaving him with an enormous grin. When the whole four piece went on stage the crowd erupted, as did a massive circle pit to their opening number “Thrasher”, segued seamlessly into the Slayeresque ‘Bathe In Blood.’ It was almost a relief from the non stop mayhem when front man Matt spoke to thank the crowd, and rant against Chavs, Twats, and Twockers before powering into the massively bass heavy ‘Man Against Machine’, a track that sounds even better live then it does on album. With only a short set at the start of the day, finished by a thundering rendition of their debut album’s title track ‘Enter The Grave,’ Evile cemented their place at the forefront of the new revival of British thrash by giving the crowd exactly what they wanted; energetic, uncomplicated, head-bang inducing metal. (SB)

With Evile finishing off on the main stage I maundered into the Scuzz tent for the first time hoping to check out some unsigned talent. I soon found out that the band I was in the presence of was A470 who managed to coerce the crowd into a headbanging frenzy of sorts. This Welsh (the frontmans accent was a dead giveaway!) outfit strike with a Machine Head style clout, with meaty guitar hooks reinforced by the groove-sodden bass lines, while the pugnacious mien of the frontman is backed by an equally hard-line vocal approach. I get the feeling that there’s a trend-loving audience out there just waiting for a band like this; clearly innovation is not the key, but there’s enough substance behind their sound to back it up. (LH)

Praying Mantis arrive on stage to a small crowd, unfortunately after the frenzy of Evile the crowd retreated to the campsite for cheap drinks. But not to be deterred, these highly talented stalwarts of the music scene play their melodic NWOBHM to an eager and appreciative crowd. ‘Children of the Earth’ from their debut album starts things off with an upbeat rush of guitar prowess and classy strong vocals, sweeping melodic interludes then follow into ‘Panic in the Streets’ and finally the dodgy PA sound (from where I was standing front right) improves dramatically and boosts their sound more. I still can’t get over how powerful and precise Mike Freeland’s vocals are as we are treated to further tracks such as ‘Turn the Tables’ that also shows the full groups vocal ability and the closing track from their early single releases tops things off nicely. These were a topical choice from the BOA organisers, but I and a few hundred others in the crowd appreciated it, but I missed out on the band t-shirts that were thrown into the crowd (we shall see them on eBay soon no doubt) only to find out later at the merchandise stand that those were the only ones with them in sizes for larger gents! They certainly brought class to Catton Hall, and I was very pleased to find a replacement vinyl copy of their first album at the stalls the very next day. (PM)

After loitering around the unsigned tent the next band took to the stage. Birmingham lot Broken Faith were the ones to follow A470 and they sprinkled out a fairly contrasting set to those who preceded them. Straight forward heavy riffs are thrashed out leading into moments where you want to pull out the air guitar, before they come to a sudden halt as technicality takes over. There’re some intriguing classical pieces infused into the mix courtesy of the keyboard, while jazzed up drumming ensues through the occasional time-sig shuffle. Their progressive metal style undoubtedly works but as for their performance; well, I’ve seen more energy on the campsite at 5AM!! (LH)

Anyone who has had the misfortune of meeting me drunk at a gig bar in the last year or so knows I’ve been championing the cause of the Hospital Of Death, and I was almost worried that the live experience would not live up to the joy and energy they crammed into their free debut album ‘Beer, Bitches, Blood.’ What worried me even more was that with just a few minutes to go there was only myself and a few diehards in H.O.D. shirts in the tent leaning against the barriers. I’m very glad to report that my worries were unfounded! Clad in hospital gowns, and wearing smiles that would have put the Cheshire Cat to shame, H.O.D. were for me the heroes of the Scuzz stage over the weekend. Within a couple of minute of them plying their anthemic and joyous thrash, the tent was full from front to back with smiling head-banging fans. ‘I Am A Tiger’ and ‘Eyezabeams of Osiris’, dedicated to the floating laser beam shooting head of guitarist Dr H. R. King had the ever swelling crowd grinning and chanting. If any band could be said to have captured the spirit of the unsigned tent, H.O.D., with their combination of showmanship, musicianship, humility and fun captured it. All bodes well for their future and forthcoming second album. (SB).

I first saw Tyr in 2006 and once again at the start of this year where I found myself disappointed by their set. I wasn’t sure what to expect from them at Bloodstock although as they opened their set with ‘Sinklars Visa’ following the obligatory intro, it looked as though they were setting sail on rough waters indeed. While they gradually ironed out the kinks and managed to regroup with each other, the Faroese warriors really did fail to keep my boat afloat for the full set. Old favourites from Eric The Red come across with the warmth and mellifluence that can only be expected, and even drive their point across with a certain modicum of passion and intensity as the tender vocal harmonies swoop above the rollicking bassline on ‘Hail to the Hammer’ and ‘Ramund Hin Unge’. With newer tracks there’s very much a feeling that they are going through the motions; the notes are mostly being hit although there’s just no oomph behind the delivery. There’s a prevalent atmosphere that one would expect from Tyr as I listen to their CD’s, and it just falls flat in the live environment, once again leaving me feeling unfulfilled. (LH)

Escaping the battle-ground unscathed I ventured back to the Scuzz tent where I purchased myself some mead and engulfed my senses in the contrasting sounds of Mancunian outfit Obsessive Compulsive. There’s a real mish-mash of elements thrown into this vivid, colourful mixing pot with a trashy, punkish attitude weaved into the metallic riffs and industrialized beats. At time I’m drawn to think of Killing Joke with the dirty guitar sound, while the fiery and brash Kelii could teach a thing or two to some of her contemporaries. She very much puts me in the mind of a young Gwen Steffani or maybe Courtney Love, with her sweet vocals and fragile demeanour that draw you in with deceptive allure, as a fountain of volatility brims beneath the surface ready to erupt and spew abrasive filth at you the moment you piss her off, breaking into a controlled fit of shouting and balling. Despite the fact that this was not really their crowd, they delivered a vibrant set and while admittedly I wasn’t planning to watch them, in the end I was glad that I did. (LH)

Having been a fan of Akercocke and watching them since their demo days it was great to finally catch them at a festival on the main stage, a British one to boot. Once becoming acclimatised at viewing a dark mass to the horned one on a sunny afternoon I was struck by just how complex the arrangements were as they honed off the stage and through the arena. Indeed at times ponderous and graceful, this exercise in violence was perfectly presented by the suited band who had perhaps gone casual to the extent of rolled up shirtsleeves but otherwise were as usual immaculately turned out, proving that the devil is indeed an Englishman. Mendonca announced ‘Axiom’ in tribute to the similarly attired; although the only real suit seen so far off stage was sported by a tin man dressed in one made entirely of one of boxes and cans from ‘possibly the best lager in the world.’ The heady decree of “Satan” was screamed out full-throated and no doubt had mothers at this child friendly festival covering their brethrens ears in panic. Akercocke also were the first band of the festival to properly utilise stage lighting and the battering attack of ‘Verdelet’ was emphasised by stark spotlights as the shimmering guitar work sinisterly wept heavenward, in the direction of gathering clouds, threatening storm to the steel. ‘Summon The Antichrist’ yelled the devils disciple. “I’d rather you didn’t old chap, would like to see the rest of the festival before deliverance of hell on earth if it’s all the same to you.” (PW).

Firebrand Super Rock got my vote ahead of watching ‘Destruction’, a difficult decision but after buying their CD a few weeks previous, I had to see them live. Think ‘Black Label Society’ mixed with latter day ‘Corrosion of Conformity’ with female vocals that give the likes of ‘Doro’ or Julie Westlake of ‘Hydrogyn’ a run for their money. ‘Fuel the Fire’ is a bouncing heavy metal tune and the energetic stage show from all the band is a pleasure to watch. Riff after riff of blistering classic metal booms out of the excellent unsigned stage PA. ‘Picking the Bones’ gives quality and an extremely uplifting metal experience. A new track ‘And the Heroes Fall’ is the perfect end to my favourite live performance of the festival thus far by a country mile. I bought the t-shirt…you should too! (PM)

Taking to the stage in a swirling sea of dry ice and wearing matching studded leather waistcoats, Destruction looked every inch the veterans of thrash they are. Schmier, with far more ink and piercings then when I last saw them play far too long ago, stalked the stage, prowling between three separate mike stands that allowed him to lord over the entire frenetic pit that fired up from his first thunderous bass line. With Mike wielding a flying V guitar that looked as if it outweighed him, and Marc blasting out an artillery barrage of drum riffs, the band played 3 solid numbers, including the excellent ‘Nailed to the Cross’ before finally speaking to the baying and panting audience, thanking them for being present for their first UK festival show. With only a 40 minute set, Schmier cut himself off from talking, and the band fired into track after track from their entire history, treating the crowd that was there to the likes of ‘Eternal Ban, ‘Thrash til Death’ and ‘Bestial Invasion’, managing to build far more layers of sound then I thought possible from the basic 3 piece of guitar, bass and drums. When they finally closed with ‘The Butcher Strikes Back,’ it seemed that no time at all had passed, let alone their whole set, such was the constant power and energy the band were blasting from the stage. This was an act that deserved to be far higher in the billing, and if the crowd reaction was anything to go by, their tour at the end of the year will be a sell out. (SB).

The only problem with the 30 minute sets on the Scuzz stage is that if you got distracted you might end up missing virtually the whole of the show. Suddenly realising Anger Management were on I had to leg it as I wanted to catch this lot as they had been formed by Jammer my old mucker from Medulla Nocte and Murder One. As expected this was a pretty full on affair with numbers like ‘Strength and Honour’ being ground out by the pummelling instrumentalists and yelled and barked vocally by singer Matt. The guitar parts sounded pretty damn good too with solos launched out from a violent stew of punky riffs and swaggering grooves. There was a lot of energy coming off as well as heat from the stage and it was easy to find yourself quickly getting into this performance, which was just as well as it seemed over in a flash. The group even threw shirts out to the appreciative audience and no doubt won over some new fans here. (PW)

The main stage bustles with anticipation as Primal Fear take it over. Having never seen these guys live in the 10 years since their debut album, I was expecting great things. As soon as the music starts the crowd reacts, but when vocalist Ralf gets to stage front, the crowd erupts. Opening track ‘Sign of Fear’ shows why Ralf Scheepers is compared to Rob Halford (and why Primal Fear are considered the German ‘Judas Priest’ for that matter!). These metal titans are very professional at working the crowd into frenzy; ‘Running in the Dust’ and ‘Battalions of Hate’ from their debut CD are received well, as is the inevitable choice of ‘Chainbreaker’, an absolute metal classic, with an ever swelling crowd. Some of the songs are quite laboured it has to be said but on the whole very well chosen crowd pleasing set. (PM).

Introduced by Johnny Doom of Kerrang Radio (a name which lead to a sea of boos and cat calls) as “returning to his thrash roots”, Soulfly’s Max Cavallera bounded onstage in his uniform of camouflage combat gear and windmilling dreadlocks to a huge roar of approval. Every scream of “Jump the fuck up!” had the crowd bouncing, as he shouted his own guttural brand of thrash into the mike, accompanied by his hermetically tight backing band, all roaring bass, tribal drums, and siren like screaming guitar effects. Those times Max actually picked up his trademark Brazil flag guitar, he seemed to only be hitting an open top string, clutching the mike hard with his fret hand. This was a shame, as having seen Sepultura play back as far as the early 90’s I know what a capable rhythm guitarist his can be. Instead he was happy to concentrate on his singing, flying around the stage, constantly exhorting more and more reaction from an audience that was his to command. Relying heavily on classic Sepultura tracks from ‘Chaos AD’ and ‘Beneath The Remains’, and screaming for ‘Tribal War’ kept the crowd in a near constant frenzy, the timeless strength of these classic tracks coming to the fore. Even newly announced track ‘Warmageddon’, with its slow heavy thrash riff that dissolved into an almost groovy drum and bass line kept the crowd on its feet. Every call of ‘Refuse, Resist’ was chanted by the audience, their volume coming close to matching the wall of sound pumping from the stage, the delivery from Soulfly drawing out more energy from a crowd that had already been whipped into a series of chaotic pits by earlier acts. (SB).

The main support band and in many peoples comments on site, should have been the headliners in the form of Helloween are my next choice. BOA is fully utilising its lighting rig for this one. All band members enter on stage with an air of confidence, with the founding guitarist Michael Weikath verging on posing when playing his guitar, but then this is forgotten as the epic ‘Halloween’ gets a full airing. ‘March of Time’ takes you once again back to the glory days of this band, it was again disappointing that this the 5th time I have seen this band in a handful of years that Andi Deris does not hit the high notes on the Michael Kiske recorded songs, but at least he has his own originality intact. One thing about this set made me angry was the bloody flags waving around in the crowd, you can’t see shit and it must have been more annoying for the shorter people. ‘Eagle Fly Free’ suffers weak vocals this time, but the band on the whole is on fire and the crowd are reacting to this. However, why do a drum solo when you’re at a festival with only an hour long set? ‘Dr Stein’ goes down an absolute storm; this gives the whole field a party atmosphere. ‘I Can’ (with glitzy coat and all) is followed with a ‘Master of the Rings’ album medley (‘Perfect Gentleman’ and ‘Where the Rain Grows’) that finishes things off for me. A really good choice of tunes to play and I was still thankful that the lighting rig was well utilised along with perfect sound. (PM)

Although they were headlining, it was a mare getting photos of Opeth They were keeping right back in the shadows and hardly hogging the limelight as they launched into things with the perfect opening number ‘Demon Of The Fall’. The meandering riffs cascaded through the cold and shivers were sent down the spine by both them and the ice cold hue bathing the band on the stage. This was a perfect night time overture to the damned, slowly ebbing and caressing one moment and crashing back with angry snarls, baying (indeed just like the hounds) the next. All that really broke things up were the in between song banters that are synonymous with an Opeth performance. Put plainly by one person next to me “Mikael Åkerfeldt really talks some shit doesn’t he”? Unless you want to believe that sex was invented in Sweden, he certainly does. Charmingly we were told we could fuck off and die if we didn’t recognise the next song, errr what was it? Seriously though, ‘Master’s Apprentice’ was another great choice from a pretty versatile set that did cater for most of the group’s fans. Those wanting really old material perhaps are the exception to that rule.

It was a beautifully lit show, at one point I stood completely tranced out looking at the stage bathed in pink and illuminating the centre of the crowd right back to the mixing desk. Strobes flashed, drunk people fell over and during the unexpected and quite delightful acoustic ‘To Rid The Disease’ one did not even need acid to get the impression that the stage had turned into a giant lemon. It had to be said that was a moment and a half played gently and beautifully; following it with the mighty ‘Wreath’ in counterpoise rendered us back into violence and brutality with dramatic effect. There were times during this 90 minute extravaganza when I felt like I was on the verge of being sent on a musical astral projection. One can really see how Opeth have become such a phenomenon, perhaps the Pink Floyd of their era even. Watershed was only represented by ‘Heir Apparent’ a song apparently written about licking nipples! Finishing off with ‘The Drapery Falls’ we left happy and content that Mr Åkerfeldt is a damn fine musician, singer and song-writer as he would have made an absolutely shit comedian! (PW)

Reviewing team - Spencer Bullen, Martin Harris, Dave Heward, Luci Herbert, Paul Maddison and Pete Woods

BLOODSTOCK REVIEW PAGE 2 - SAT
BLOODSTOCK REVIEW PAGE 3 - SUN

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BLOODSTOCK PHOTOS - FRIDAY (SCUZZ & LAVA STAGES)

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BLOODSTOCK PHOTOS - SATURDAY (SCUZZ & LAVA STAGES)

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