Author: Rok Klemše, Aleš Podbrežnik
Photos: Nina Grad
Location: Tolmin, Slovenia
Date: July 24, 2017
Attendance: 11,000
Ticket price: €160.00 (weekly pass) / €140.00 (three-day pass) / €60.00 (one-day pass)
We greeted the first official day of Metaldays 2017 with local heroes Hellcrawler, who roared to life on the newly renamed Boško Bursać stage (in honor of the legendary sound engineer who passed away last year) with Swedish-sounding HM-2 guitars cranked up to 11. The lads from the Gorica region showed off both their studio releases in a great light and shoved the crowd into a post-apocalyptic world ruled by flesh-hungry undead and jukeboxes blasting out excellent black/crust/death’n’roll.
Soon after, the second, nastier storm of the day rolled over Tolmin and washed Irish folk metallers Na Cruithne off the Lemmy stage. Then again, British act The Crawling on the other stage suited the atmosphere much better anyway, making the already gloomy air even gloomier with a hefty smack of death/doom metal. Especially in the slower parts, and thanks to a vocalist reminiscent of Aaron Stainthorpe, they sounded a whole lot like their countrymen My Dying Bride. Which, of course, can’t be a bad thing. The Crawling showed their debut Anatomy of Loss, released this year, in a good light and made just enough of an impression to be worth keeping an eye on.
As mentioned, things on the main stage should have been just getting going when Irish folk metallers Na Cruithne from Galway climbed up there. The mixed-gender sextet, armed with a bouzouki and a tin whistle, had just started unveiling the essence of their musical vision and creativity, a mix of extreme genres (black metal) into which they weave elements of traditional Scottish, Irish and even Breton music, when a cloud burst and water pitilessly hammered the festival grounds. People scattered en masse, and the band, no less cheerfully, bolted off the stage in a hurry. The stage only came back to life at nine in the evening, when Iced Earth stepped onto it. Anyone who took the fur-clad Irish crew seriously this time and wanted to catch a full-blooded set had their plans wrecked by the weather and will have to wait for another chance. Those of you who caught the band alongside the interesting Mongolians Nine Treasures and Slovenian hopefuls Halcyon Era at Orto bar in the middle of this June may have found at least a little consolation in that.
The heavy storm sadly spared no one else on the big stage either. After the earlier cancellation of Xandrii , Finnish thrashers Lost Society were big losers too, with their set called off, while Japanese heavy metal veterans Loudness were moved from the main stage to the other one.
Luckily the weather calmed down, more or less, before the set by Dutch newcomers Dool, a band made up, among others, of the former The Devil’s Blood rhythm section of Micha Haring (drums) and Job van de Zande (bass), plus Gold guitarist Nick Polak, and led by charismatic vocalist and guitarist Ryanne von Dorst. Dool more or less logically continue the story of The Devil’s Blood, who fell apart after the suicide of mastermind Selim Lemouchi, but in their music they blend influences of hard rock, heavy metal, pop and psychedelia even more deftly, all of it neatly wrapped in the nihilistic atmosphere of black metal. I hadn’t seen this much hell-of-a-good energy on a stage in a long time, and Ryanne, with her »au naturelle« androgynous look (she just doesn’t like shaving, screw it), is a truly excellent bandleader and vocalist. Dool played most of their debut Here Now, There Then, but sadly, right in the middle of their set, during the cathartic Oweynagat, the sky tore open apocalyptically again and thoroughly drenched the crowd in front of the stage. Then again, the cleansing nature of water gave the whole thing even more weight.
Next, Greek thrash metal revivalists Suicidal Angels, from none other than Athens, took over the second stage. Last year the band put out their current studio album »Division of Blood« and built the setlist around it, with the emphasis on playing the new songs. There’s no beating around the bush with Suicidal Angels. What you see is what you get. And over the years they haven’t strayed much from their charted musical course. The influence of thrash titans Slayer is strongly felt in their compositions. The band came out swinging with no fewer than three songs from »Divison Of Blood«, played back to back. Starting in their own style. Devastating and uncompromising. »Suicidal.« Capitals Of War, Divison of Blood and Image of the Serpent rolled out one after another, and the crowd quickly warmed to the aggression and fire-spewing coming off the stage, creating some seriously good chemistry with an otherwise totally unhinged band. The only things that bug me about Suicidal Angels are their clunky use of English and, at moments, the chronic dose of generic that occasionally wafts out of their guitar phrases. The band also introduced new guitarist Gus Draxx, who replaced Chris Tsitsis last year. Suicidal Angels are an extremely tight band, by the way. It’s more than obvious they regularly play stages across Europe and the world. If they’re not part of a multi-band touring package, they turn up regularly at summer festivals around Europe. A packed schedule, then, for the hard workers of Greek thrash revivalism. In forty minutes of »comedy« the band also scattered around Beggar of Scorn, Bleeding Holocaust, Reborn in Violence, Bloodbath, Mooshing Crew and Apokathilosis.
Cult American black metallers, or as they call themselves »mythological occult« metallers, Absu owed the Slovenian crowd big time. Half a year ago, through no fault of their own, they played a mere half hour in Šiška at the very end of an already long evening. That’s probably part of why they gave it absolutely everything this time. The legendary Proscriptor McGovern again pounded the drums like Animal from the Muppets, all while growling and screaming like a rabid fox. It gets even better when a roadie takes Proscriptor’s place behind the kit and the drummer morphs into a frontman in a red cape with a little fur trim and, between all that growling, of course, busts out the coolest dance moves, gestures and grimaces in black metal, rivaled maybe only by Abbath. The Texan trio otherwise works on stage like a well-oiled machine, and I hope their renewed live activity means that Abzu, now six years old, will soon get a successor.
Because of the shuffled schedule, Loudness were slotted in after Absu, and I decided to watch all of Iced Earth, by now true veterans of the Tolmin festival. The legendary Americans took the stage fashionably late and greeted the crowd with something new from their just-released studio record Incorruptible, the Viking-horde ode Great Heathen Army, which worked better live than on the album. Sadly, the sound was dreadful from the first track to the last, which is probably down to technical trouble with the gear because of all the rain. It did get better from song to song, but it was decidedly too quiet, and individual instruments were poorly mixed at times too. Iced Earth weren’t much bothered, though, and with an outstanding setlist they actually pulled off one of the nicest surprises of the festival. They dished out a pile of unexpected classics, starting with Burning Times, then almost half of the cult record The Dark Saga (Dark Saga, I Died For You, Vengeance Is Mine and the closing epic The Hunter), and with the superb Pure Evil they even went all the way back to Night of the Stormrider. The whole time, bad sound or not, the out-of-this-world Stu Block thrilled with great vocal form, Schaffer’s right hand was as reliable as ever, Jake Dreyer nailed the solos with total confidence (check out his main band Witherfall!), and it was wonderful to see Brent Smedley behind the kit again after a long while. Knees went weak once more at the ever-wonderful Watching Over Me, and the band said goodbye with the unforgettable The Hunter. Iced Earth’s only weakness, besides the bad sound? Sadly, a set about fifteen minutes shorter than it should have been.
Japanese hard rock legends Loudness were supposed to play the main stage just past five in the afternoon. But because of the heavy storm they were moved to the second stage, and the time that freed up was used to get everything ready on the main stage down to the last detail for Iced Earth’s set. Loudness’s set thus slipped to half past nine in the evening and consequently overlapped with Iced Earth. Damn it. This time two thirds of the excellent American heavy metallers had to be sacrificed, because it’s questionable whether we’ll ever get to see Loudness again anywhere in Europe, let alone on Slovenian stages. So Loudness’s set counted as one of the top attractions of this year’s Metaldays in Tolmin, something that simply could not be missed. Especially if you’re nuts about the old school. After some early trouble, when guitarist Akira Takasaki’s guitar jack died, the band pulled themselves together and started the show five minutes later. Loudness today have three original members who’ve been together since 1981, when the band was founded. Besides the exceptional guitar virtuoso Akira Takasaki, they are vocalist Minoru Niihara and bassist Masayoshi Yamashita, while the drums are played by Masayuki Suzuki, who in 2009 replaced the late (and original) drummer Munetaka Higuchi. Apart from a guitar that was too loud at times, the band’s performance can be summed up in one word: excellent. True, Minoru doesn’t have the explosive power in his voice that he used to, but still. With his distinctive vocal approach, where you just have to accept that it’s often unclear what Minoru is actually singing in English (but that’s a problem for all Japanese bands when they tackle English lyrics), the guy held his own more than confidently through the whole set. The band struck as expected with the classic Crazy Nights from the cult »Thunder in the East« album and stayed with that album for the next two songs, lining up Like Hell and Heavy Chains right at the start. Loudness released their latest studio album three years ago. Titled »The Sun Will Rise Again«, it’s already the 26th studio album in their long-running career. In the second half of the show the band played the title track from it, with a very melodic and catchy chorus. Loudness radiated good cheer throughout and got solid support from the crowd, while in all their (almost proverbially Japanese) modesty and politeness they thanked the crowd cheering them on almost too much. Takasaki remains a peerless master. An exceptional virtuoso. Incredible technique, ultrasonic speed, a real little Japanese Malmsteen, full of guitar neoclassicism. Guitar playing that takes your breath away. And the music owes its inspiration to Rainbow, of course. The band closed the show as expected with the »Hurricane« classic S.D.I. and also lined up In the Mirror, Rock Shock and Crazy Doctor. The set was intense, full of emotion. You don’t get to see Japanese hard rock legends every day! Bomb, storm, lightning and more! From the East, that is. Let’s hope that by some miracle we get to meet them again.
The role of the festival’s main draw on the main stage on day one fell to an icon of musical eccentricity and shock provocation. Marilyn Manson is a man who over the years has developed an exceptional mix of recognizable and unique art culture. A one-of-a-kind blend of alternative rock and alternative metal, in which industrial influences inevitably claim their spot, with a touch of theatrics and gloom, and woven into all of it are elements of »black«, if not »gothic« glam. Superbly »twisted« rock’n’roll full of depraved artistic deviations, low and greasy-tuned guitar phrases, backed by additional sub-rhythmic sampling that creates a hypnotic daze in which the crowd, as a rule, eats out of the hand of the charismatic figure of the monstrous Manson. Well, none of that, which Brian Hugh Warner and his crew were supposed to bring to Metaldays in Tolmin, was delivered this time the way you’d expect (and demand) from such a musical institution. The band, who have just released their new and already fifteenth studio album, »Heaven Upside Down«, appeared on the Tolmin stage as a sextet. Keeping Manson company in the live lineup are »eternal« Twiggy Ramirez, who for the band’s new era switched from guitar to bass, newcomers on guitars Paul Wiley and Tyler Bates, keyboardist Daniel Fox and drummer Gil Sharone.
Sure, Marilyn Manson were billed as the absolute artistic oddballs of this year’s Metaldays lineup, and in terms of expression they’re a mile away from what the vast majority of visitors come to this festival for, but even so, despite the lukewarm response from the sizable crowd watching the show, the band had no business acting so starry, arrogant and aloof. The show wrapped up after a good hour. Manson mildly tried for a while to wake up the crowd with his stock tricks, but in vain. The response was truly lukewarm, even though the crowd was visibly enjoying itself throughout. Marilyn Manson quickly sensed this lukewarmness and started acting extremely formal. Just enough to »pocket« another gig and some rustling greenbacks. Out of pure professional routine. The set design brought a giant throne onto the stage, which Manson climbed and strolled around on in a lordly way, and the usual »showdown« with the mic stand didn’t go missing either. The show as a whole wasn’t what we expected from Manson. The »star« cut it short, in other words. After closing the regular set with the obligatory cover of Eurythmics’ Sweet Dreams, he came back for the encore dressed in a red suit, and for just one song. Beautiful People. When it was over, he left the stage quickly and without a word. He did it so unexpectedly that he confused even his stage crew, who stood motionless on stage for a few moments before they actually realized their boss had permanently headed backstage. We won’t go on here about how decent or composed such a pose toward the audience is, but the man obviously can afford that kind of thing. A gig that will quickly sink into oblivion and a performance that delivered one of the biggest disappointments of the entire festival. It’s clear that Marilyn Manson can deliver more and better. But we’ll have to wait for the autumn leg of the tour, which also stops in Vienna, Austria. More fun and happiness next time, then. For all that, Marilyn Manson, who after rehab and cleaning up has put on a hefty bundle of extra pounds, remains an extremely special, striking and charismatic artist who, with his genius and visionary streak, keeps on delivering first-rate musical provocation.
The undisputed highlight of the first day was delivered by Polish mystery black metallers Batushka, as confirmed by the fact that they played in front of a packed crowd at the second stage. Supposedly as many as six thousand people watched the Polish liturgy. And despite the mysterious garb, the anonymity of the members (rumor has it the band features members of Polish acts like Hate, Mgla and Behemoth) and the apparent incompatibility of Orthodox iconography with black metal, Batushka already won people over last January at Cvetličarna, where they proved they’re more than just a »gimmick« band. This time they only confirmed it, as the power of their black metal interwoven with Orthodox chants came through even stronger under the open sky. Batushka also had superb sound working in their favor, especially the guitar sound, which was finger-lickin’ good. If I’m not mistaken, the band also played some new material that will find its place on the upcoming studio record, but otherwise they again served up the bulk of their debut Litourgiya, and the Orthodox black metal chants echoed in the ears of the huge crowd long into the night.
Anyone who had endured the energy stinginess of Manson’s show this time and still hadn’t been fully cheered up by Batoushka’s set had to treat themselves to the old-school NWOBHM sonic terrorists Venom Inc. Yes. These are Venom »with a flaw« in the name, and yet still Venom. At the moment there are two Venom bands, and both include founding and original members who are also co-authors of the band’s cult classics. While Venom is led by Conrad Lant, known as Kronos, the other Venom calls itself Venom Inc, and their ranks include original Venom members guitarist Jeff Dunn a.k.a. Mantas and drummer Anthony Bray a.k.a. Abaddon. The third »culprit« of this crew is the very guy who replaced Kronos on bass and vocals for three Venom albums in 1989. That’s Tony Dolan a.k.a. The Demolition Man. And this trio truly delivered a brilliant, top-notch closing treat for the festival’s first day. From the first second to the last they teased out one Venom classic after another. Dolan remains an excellent Kronos stand-in. From the stage movement, gestures and facial grimaces (the face-pulling) he fires off at the gig, including the constant sticking out of his tongue, to the incredible vocal likeness to Kronos, full of gutturalness and, last but not least, a superb dose of genuine black humor of the kind you only run into on the British Isles. The trio was dressed in old-school stage outfits too, and the show itself blasted the grounds right back to the early eighties, when metal was a young child of the musical universe. It hardly got more authentic than this.
Of course the guys sliced through classics from the first two albums Black Metal (Leave Me in Hell, Black Metal, Don’t Burn The Witch, Buried Alive, Countless Bathory) and Welcome To Hell (Sons Of Satan, Live Like an Angel (Die Like a Devil), In League With Satan, Witching Hour), and added quite a few other delights, like the opening Rip Ride from the third album »At War With Satan« and lost classics from the period of making that album, Warhead and Seven Gates Of Hell, as well as both sides of the »Bloodlust« single released in 1982 (Bloodlust, In Nomine Satanas). The band, who will release their studio album »Ave« on August 11, 2017, also presented a brand-new song, Ave Satanas. So the pact with the devil holds, and not a speck of age-related rust or mold clings to this blood-and-brotherhood bond. The trio radiates deadly stage venom. Excellent old-school sound. Brilliant communication. Tight cooperation between crowd and trio. Right up to the last second. The crowd called the band back to the stage no fewer than three times, and the night felt like it would never end. We could hardly have wished for a better close to the first day of Metaldays 2017. Above all, defenders of the traditional old-school achievements and, in terms of the Venom opus, of what is practically a cult metal craft. Long live hell and Satan!
Nina Grad (photos): For I Am King, Evil Invaders, Sanctuary, Macabre, Katatonia, Amon Amarth, Mgla
Rok Klemše: Hellcrawler, The Crawling, Dool, Absu, Batushka, Iced Earth
Klemen Udovč (photos): Avven, Vasectomy
Aleš Podbrežnik: Na Cruithne, Suicidal Angels, Loudness, Marilyn Manson, Venom Inc.
Setlists
ICED EARTH:
1. Great Heathen Army
2. Burning Times
3. Pure Evil
4. Vengeance Is Mine
5. Seven Headed Whore
6. I Died For You
7. Dark Saga
8. Slave to the Dark
9. My Own Savior
10. Dystopia
11. Watching Over Me
12. The Hunter
MARILYN MANSON:
1. Revelation #12
2. This is the New Shit
3. mOBSCENE
4. The Dope Show
5. Great Big White World
6. No Reflection
7. Sweet Dreams
8. Disposable Teens
9. We Know Where You Fucking Live
10. The Beautiful People
11. Coma White
Photo Gallery
