A couple of pints in the White Swan started the afternoon nicely before heading round the corner for the show. Starting us off at 4.45pm was Finland’s Omnium Gatherum. I own their 2003 album “Spirit and August Light” and am always pleasantly surprised when I listen to it, without ever investigating the band’s further work. This was a nice opportunity to catch-up. What a pleasant discovery! To lift a crowd within 5 minutes of starting a set in the afternoon and get them headbanging is quite an achievement. Omnium Gatherum did just this. It was easy to see why. Their recipe was undiluted power and accessible Melodic Metal. On top of this the 6 piece band were clearly enthusiastic about it, and with furious headbanging across the line drew the crowd in. Appreciative Metal horns came back from the 100 or so who’d made it here. As the set progressed, it was evident that there’s plenty in the Omnium Gatherum armoury. “New World Shadows”, the title track of the band’s latest album had both bewitching guitar melodies and venom. Keyboards resonated menacingly alongside the dark vocals. The harmonies were both harsh and clean. The band proved they could slow it down but it was never less than relentless and full on. The lead guy was great and was the kind of guy you’d want to have a pint with. The whole band showed great stage presence and touched the crowd. The final song was “Deep Cold”, also on the latest album. This captured all the qualities we had seen. The lads on stage headbanged in unison before the song slowed down. The melodies were tight and gripping. The effect was hypnotic, imperious and sinister as a punchy and circular rhythm was blasted out by the superb guitar section. Omnium Gatherum achieved a lot in their short slot of 35 minutes. No time was wasted. This was something special. It was a performance of great maturity.

Gurd from Switzerland seem to have been around for ever but for no reason I’d never felt motivated to look into them. They have a new album “Never Fail” but paid homage to their past by going back to 1996 and playing “What Do You Live For”. In fact if their lead singer hadn’t told us this, I would have struggled to distinguish the 1996 from 2011 material. What this was about was old school Thrash for old school thrashers. The unwritten rule was that the drummer beat hell out of his skins, and he complied. It was tight, lively and business-like. The sound was good so the Metal sun was shining as far as this band was concerned. There was a permanent wall of sound which you could rely on, the beat was irresistible and the bass rumbled on. The singer roared his melodic vocals through the mic, sounding a bit like James Hetfield. “Rising from the Ashes” should have had the subtitle “Thrashing for Europe”. “Bang your Head” was anthemic or trite, depending on your angle. It was straight down the line like all their songs but it went down well. All this was punctuated by an amiable Swiss gentleman presenting the songs. “The Grand Deception” followed the same pattern – thrash, thrash, hard lyrics, thrash, thrash …In fact everything followed the same pattern, but although the formula remained the same, the energy and drive were unstinting and you knew what you were going to get. It’s not the most imaginative Metal I’ve ever heard, and for that reason I preferred Omnium Gatherum before them but it was solid and there was plenty of wholesome headbanging heaviness. The audience reaction was good and appreciated the entertainment Gurd had given us. I go along with that.

A bunch of men appeared with bloodstained and blackened faces. It had to be Varg. I liked their album “Wolfskult” when it came out this year and had high hopes for this live performance from these Teutonic purveyors of Viking Metal. There seemed to be a lot of screaming, growling and posturing. The instrumentals were just ok but this was only the beginning. “I want to hear you scream” announced the large, face-painted German. The spectators obeyed the command. We were told that the English are a nation of “beer drinkers and bar fighters” – not entirely untrue, but a bit of a generalization, I’d say. This was the cue for more gesticulation and growls, and yet more nondescript music. “Give me a wall of death” – 3 or 4 obliged. Everyone else looked on. Speaking for myself, I was trying to get into this but it was as if Varg had forgotten to bring the music with them. We were in an excitement void. We heard more inane stuff about “you English people” and then it was time for “Wir sind die Wölfe”. It’s not a taxing song but I would have expected people to be leaping around to it. We tried, but even this was pedestrian and oh …there was more gratuitous screaming. It got faster and the triggering drums were great, but the wind died down again. We heard the sound of storms – “the dead man’s ship” explained the angry looking German who was going through all the motions but little more. A dead man’s ship indeed – very appropriate. I looked round and the spectators were trying their hardest. The problem is that ridiculous-looking face paint, vacuous exhortations and growling will only get you so far. I don’t deny that these guys could play and I enjoyed the odd riff, but there was no power or passion. Instead the lazy option was adopted of seeking horns and screams. We English are generally polite and usually obliged but apart from the odd moment of life, the band’s efforts were ineffective and it was hard to sustain any sort of response. This was all supposed to be epic but wasn’t. The best song of the set was a cover of Rammstein’s “Links 2 3 4”. Not as militaristic as the original, Varg put their interpretation on it. We returned to base camp: “I want you all to scream”. Christ, not again. This was like the pantomime. I felt like screaming “It’s behind you” or perhaps “Es ist hinter dich” but I’m too polite. After the Rammstein cover, the set finished with “Wolfskult”, a clone of a Rammstein track which invited unfavourable comparison. This should have been a strong ending but half way through it lost its way and faded into a bit of a blur. To say this was a disappointing performance is an understatement. It was a case of appearance over substance. Furchtbar.

This was the first time I’d seen Mercenary play live since their line-up change last year and release of their new album “Metamorphosis”. Aggression and thunderous heaviness were the backdrop to the band’s set tonight. Yet they didn’t go off like a racehorse. From the first song, “In Bloodred Shades”, the opportunity was taken to showcase the band’s skill and range, and there was plenty of both. All except one song tonight came from “Metamorphosis”, the latest album which acts as the transition between the old line-up and style and its new version. Centre stage was Rene Pedersen, who has the role of growler and clean vocalist as well as being the bassist and a very personable MC. Rene was well up to the task with his growls and harmonies on the next song, “In a River of Madness” but again the real strength in the overall depth and breadth. The song was heavy but fluid, thanks to the solid and constant rhythm provided by guitarists Jakob Mølbjerg and Martin Buus and the drummer Morten Løwe, but equally full of subtlety and virtuosity. Martin’s guitar solo, always amazing but at one time a little standalone, now melted into the track. The sound quality was good and doing justice to the colourful treat of Melodic and even Progressive heaviness. Rene then invited us to take a look “Through the Eyes of the Devil”, another transforming track packed with melody and interest. Rene switched smoothly from growls to cleaner vocals. Firepower and finesse continued to bombard us from all directions. All-out energy marked the beginning of “The Black Brigade”, on the face of it a classic aggressive Melodic Metal track but as ever developing in a dramatic way. Changes of pace and mood abounded as we enjoyed slower sections, catchy choruses and skilful solo sections to complement the brutal core. The firepower increased still further with “On the Edge of Sanity”. While Rene had to be more or less static on account of his multi tasking, Jakob provided the movement and the long hair, and so added physical energy to the crunchy sound from his guitar. “On the Edge of Sanity” was non-stop rock n roll. Sublime guitar work from Martin was superimposed onto the galloping rhythm. I knew the songs already but the structures are such that there’s no formula to tell you which way a song is going to go. The movement meanwhile is like that of an express train which finally reaches the end of its journey in a logical way. Rene was extremely gracious and engaged the audience in this dynamic process. “The Follower” was typical, featuring a rich and unusual mix of harmonies and heaviness. As it quietened down, it was momentarily bass-driven. Rene then growled as Martin simultaneously played his guitar solo – that’s the “new” Mercenary. It’s layered and integrated, and there are no keyboards. Everywhere you look, there’s talent and ideas but it’s a collective effort from the Danes. There’s no beating about the bush in the music, yet the quality and range are immense. The set finished with “The Endless Fall” off the “Architect of Lies” album. All the elements were there again. Growls and thunder mixed with the catchy harmonic chorus. The set came to an end. If anyone had bought pink Mercenary panties which were available from the merchandise stand, they weren’t being thrown on stage in appreciation, but the crowd’s enthusiasm was evident nevertheless. The songs are interesting and well-structured, the overlapping and timing are superb and all in all this had been a lesson in complete Metal sophistication from Mercenary.

Celtic strains were in the air. A hurdy-gurdy, flutes and fiddles at the ready, Eluveitie from Switzerland were on stage. All 8 of them. The lead vocalist complained three times about the size of the stage as if complaining was going to make it bigger. With 8 of them, it was always going to be a bit chaotic but this was very well organized chaos, indeed the strength of the band arises from the variety of instruments and contributions. Heaviness was the order of the day but there were flutes aplenty, and the crowd was soon bouncing up and down. After the opening bout of heaviness, growls and headbanging to set the scene, we were introduced to the iconic “Inis Mona”. A bagpipe now came into it as Celtic mayhem was set to a Heavy Metal rhythm. There was plenty for us in the crowd to get involved with. To follow the female violinist sang “Slania’s Song”, a Celtic folk number and the only one tonight where the folk element was not annexed to a Metal beat. This was a shame. Eluveitie know how to exploit entrancing Celtic rhythms and “Slania’s Song” in particular conjured up images of a distant hill on the Isle of Skye. But this is a metal band and on we went. Some of the accompanying sounds became stranger and stranger but I didn’t think that Eluveitie were as hypnotizing as they can be. The emphasis was on classic Heavy Metal with odd mediaeval instruments rather than on Celtic rhythms. The fiddle featured regularly and large bundles of energy were transmitted, if at times the same diddly-dee rhythm seemed to be coming out. Eluveitie are certainly different. Headbanging and growls continued to intermix with fiddle and flute passages. It was appreciated but no-one twirled around the room. But the energy was there and the spectators were enjoying it. The singer declared that it was “time to see some action” and a mosh pit started on instruction. The jig-a-jig sat on top of the Metal but the same track continued to be played over, or so it seemed from the structure. To finish, the band played “Tegernakô”. It was a final opportunity to bounce up and down, and the crowd took it. There was little space for softer or melancholic and even straight folk moments here. Eluveitie’s set was a relentless assault and went down well. If there had been more variety, and there had been some variation from the “Metal first” approach, I think it could have been even better without watering down the power.

As the crowd went outside for a cigarette or some air, the story of the evening so far could be told from the floor. Spilt beer was everywhere. The Garage was now battle-worn after 5 bands.

I had seen Dark Tranquillity several times since that dark evening in November 2002, and knew they were capable of putting on a spellbinding show. What I was less sure about was the material. It’s fair to say that I was once completely obsessed with “Haven” and “Damage Done” but the following albums left me a little cold and I lost the obsession (going on to Mercenary, with whom the obsession is still there, to put the record straight). What I heard from Dark Tranquillity post “Damage Done” was good, sometimes very good, but I felt that I was hearing the same formula being re-worked and it just wasn’t striking me. Nevertheless my hopes and enthusiasm were high for a great set from Mikael Stanne and his long-standing chums.

And on they came, the godfathers of Melodic Metal as Mercenary’s Rene had earlier called them, to an explosion of firecrackers, represented on the graphics screen behind them. An exotic keyboard melody struck up. Mr Stanne appeared, larger than life, and launched into “This is a ghost town …” Ah, “Terminus”. By the second track “In My Absence” Stanne was well in charge and running the show, getting close to the crowd and emphasizing those simple and memorable lyrics – “I am the absentee” – which so characterize Dark Tranquillity’s work. Melodic energy and finesse powered through the guitar work. The background graphics added colour. We went back in time to hear an old favourite Treason Wall”, always a great song and delivered with customary timing and charisma. Stanne was now being lifted through the audience. We stopped. He pronounced: “One thing that is very clear is that you are not “Lost in Apathy””, and off we went again. I reflected that the delivery was very similar and a bit too clinical. Some songs can be a bit tedious but it doesn’t seem to matter. The constant melody and being kept on our toes by Mr ‘Livewire’ Stanne were enough. This was a warm experience and great entertainment. Oh yes, and then those of us of a certain age could detect the familiar strains of “Wonders at Your Feet”. The electro rhythm to go with it was hypnotic. I’d heard the song so many times but Stanne and co were conquering the place. While he turned on the charm and shook hands with his adoring public once more, there was technical mastery going on in the instrumental department. Martin Henriksson stood impassive, motioning now and again as he gave us access to his guitar magic. With the graphics, the stage was a mass of colour. But I still had doubts. A couple of tracks from the “Fiction” album had that personal touch and the high technical quality but suffered from a lack of direction. After a well-earned swig of beer, Stanne introduced the meaty “The Sun Fired Blanks”. Things picked up again. The riff was spectacular. “Inside the Particle Storm” was the same kind of track, but this time with the magnificent highlight of an atmospheric guitar section, reinforced by thunderous percussion. “Zero Distance” was then performed to its video. Superbly atmospheric again, I concluded it is in the instrumentals, in this case the keyboards, where the strength of the band lies rather than in the song structures. As if to emphasise the point, the keyboard sound bounced off the ceiling on “Dream Oblivion”, adding touch and further colour to the Wall of Sound Gothenburg Metal. The legendary and epic “Final Resistance” came next. It was played faster and harder than I remember. It wasn’t the final track as traditionally has been the case because the anthemic “The Misery’s Crown” followed. The rhythm was utterly engaging. This was one to move to. Finally, those dramatic keyboards which add so much to Dark Tranquillity signalled “The Fatalist”. Stanne matched the drama, while the other intrumentalists matched the power. It was over. Strangely I was not exhausted.

This was a consummate performance by Dark Tranquillity. The set covered a good range going back to the 1999 album “Projector”. I really enjoyed hearing the old songs again but remain unconvinced by the newer ones which for me can lack imagination. Maybe I’ve outgrown Dark Tranquillity or they’ve outgrown me. This said, the ambiance was good, the presentation was excellent and the musicianship was sublime.

Everyone will have their opinion about the music. Mine here is that the Danes and the Finns outgunned the German Vikings and the Swiss Celts and Thrashers. Dark Tranquillity were supremely professional as ever. I do find that their song quality varies from brilliant to ordinary, but what can’t be questioned is their technical skill, eye for nuances and co-ordination. Music apart, each of the bands were great ambassadors and went out of their way to appreciate their audience. Credit also must go to the event organizer and venue management. About 250 spectators at a rough guess were there to see Dark Tranquillity, and the Garage was the right size, making sure that the room was comfortably full and ensuring a good atmosphere. It was a friendly occasion and the sound quality was good. We couldn’t have asked for more.

Review Andrew Doherty

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