LIVE REVIEW: International roll call as Skalmold, Arkona and Eluveitie bring folk, pagan and Viking metal to Belfast

METAL makes the United Nations look like an occasional meeting of children - across the world, in nearly every country has got their own take on heavy metal and what it should sound like.

From the first proto-metal or Cream and Iron Butterfly, the first true metal of Sabbath spread like a virus, infecting every corner of the world, with power chords. As metal evolved hundreds of genres and sub-genres emerged as each new set of adherents added their own take on metal.

And, on Friday (November 14th) in Belfast's Mandela Hall an international line-up of Skálmöld (Iceland), Arkona (Russia), and Eluvietie (Switzerland) brought their own interpretations with a mystical mélange of metal mythos meaty enough and delicate enough in equal measures.

Skálmöld opened proceedings with a muscular take on Viking metal, but with their national identity seared throughout every note of their set. Vocal delivery is in Icelandic, and arrangements of some tracks reflects song patterns from the epic poems of the Viking era.

All six members of the band lend vocal parts to the tracks and as Árás leads into the epic track 'Gleipnir' Baldur, Gunnar Þráinn and Snæbjörn lead the line with Jón Gei on keyboards and oboe with Snæbjörn's drums lending texture as they move from song to song with aplomb and energy that belies their status as openers.

With a subtle blend of classic thrash, Viking metal, death metal and Icelandic traditional arrangements tracks from Napalm Records release 'Með vaettum' - including 'Með fuglum' and 'Að hausti' - were merged with older songs.

As the last echoes of 'Kvaðning' faded he applause was richly deserved. While Skálmöld have taken the Viking metal template it and added layers, the sound is rich and deep, and some original arrangements make it stand head and shoulders above many plying their trade in a similar furrow.

They earned new friends and new fans on Friday and a return to these shores would be welcomed from these Reykjavík raiders.

Coming on stage in traditional Russian pagan dress Arkona brought through take on metal with the stunning vocals of Masha 'Scream' growling in a way that many a man would envy.

Title track of the new album 'Yav' opened the set in a full-on tirade of metal with aggressive intent, despite the presence of Valdimir playing a range of wind and ethnic instruments. Rather than detracting from the sound it enhanced the overall textures, lending a breadth and depth to the sound.

Man mountains Sergei (guitar) and Ruslan (bass) rumbled throughout with Sergei roaming around the stage like Rasputin with a sore head and wielding his flying V with real metallic intent.

Andrey's drums were pounding out almost tribal beats and by the time they played 'Zakliatie' they had hit their stride. Masha's manages to contrast death metal growls with melody.

With some thought towards the ongoing Ukrainian war the Slavic triumphalism was worrying, but a little research proved that this was more about looking back - and Masha has recently said she has no interest in politics. Given the title 'Slav'sja, Rus'!' was the one that caused some concern it is reassuring that Arkona are about metal and painting aural pictures of a pagan past in eastern Europe rather than getting involved in today's wars.

Given this is a tour that sees Eluveitie back the 'Origins' album it was no surprise that many of the that release was featured. But, bloody hell, when you see Eluveitie live there are shed load of them on stage....

Really it takes until 'Nil' before you realise the stage is packed, with even the hurdy gurdy getting crowded as Anna extracted a series of deceptively complex sounds. But as they moved into 'Carry The Torch Chrigel's multi-talent was on show as he moved from hard edged vocals through to tin whistles, mandolin and several other instruments.

Ivo and Rafael provide both muscle and subtle guitar lines while Merlin and Kay somehow manage to keep the whole multiple of sounds and textures from running away into folk oblivion. They are the unrecognised but crucial ingredients to Eluvietie's success. No matter the tin whistles, bagpipes, fiddles and other instruments deployed to give the band it' folk metal status, it is these four who keep the sound 'true'.

Stand out tracks in the main set are 'Inception', 'Vianna' and, od course, 'Havoc' which all emphasise the maturity of the band as a unit - confident in delivery, composed on stage and as smooth in sound as a Swiss chocolatier pouring out a delicious confection. Indeed, this Swiss band's stature in their homeland and across Europe is such that Honda are now sponsoring them...

The encore was delivered with an atmospheric prologue before 'Helvetios' had the crowd rise in acclaim throughout the venue.

The tag folk metal is deceptive, as Eluvietie are at heart a metal act with added extras. The same applies to the pagan metal of Arkona and the Icelandic Viking metal ofSkálmöld.

No matter the prefix, it is still metal, and in Belfast's Mandela Hall the metal was pure and, yes, it was heavy.

Review by Jonny

Pictures by Metalplanet Belfast (more below!)

 

 

 

 

 

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LIVE REVIEW: Rollin' down the Black Stone Cherry highway in Belfast

A FEW years ago Black Stone Cherry seemingly came from nowhere, a hard rockin' southern US band full of passion, riffs and songs, backed a label that seemed to understand where they were coming from, and four guys who seemed to have hard work ingrained in their core.

Moving from bigger and bigger venues Black Stone Cherry now arrived in Belfast's Mandella Hall (October 24th) to deliver their latest salvo of pure rock to a sold out venue.

With Airbourne left off the Irish leg of the tour Theory of a Deadman had to take up the slack. There were quite a few people there familiar with the Canuck's back catalogue to have some sort of a half decent reception.

Lengthening their set compared to other dates on the tour enabled them to add in the likes of the misogynistic 'Bitch Came Back' and 'Bad Girlfriend' but they only seemed to come alive when they played the more muscular songs.

Some cynical fans compared them to Nickelback 'Lite' but on reflection it has to be said that they carve their own furrow and on 'Carve' they seemed to gel.

But despite the cheers for Theory of a Deadman it was a hall rumbling roar that greeted Black Sine Cherry. And, from metalheads to rockers, casuals to pop-ish types, through to death metal types it seemed that it was a unifying force from Kentucky that brought it all together.

From the opening chords of 'Rain Wizard' through to '30 Seconds of Death Metal' the audience was enraptured. Part of this due to the energy of the band, which was fed upon by the crowd, and as a result the band reacted.

Chris Robertson is a fine lead man, while Ben is a hyperactive presence, too energetic for most of people to keep up with.

'Me and Mary Jane' was received as well as the more familiar tracks, while 'Things My Father Said' was almost existential in both its delivery and the reaction of the audience.

 The segue from 'Hollywood In Kentucky' to 'Hell and Highwater' and 'Soulcreek' was a smooth movement for the band, as Jon Lawhon's bass and John Fred Young laid down drum lines that tied it all together.

'White Trash Millionaire', 'Blame It On The Boom Boom' followed by the encore of 'Peace is Free', 'Lonely Train' and the literal '30 Seconds of Death Metal' was a powerful conclusion to the night.

Black Stone Cherry may be dismissed by some as another hyped up rock band, riding  a corporate tide, when in reality they come across as four genuine blue collar men who believe that you put out comes back to you.

Of course the inter-song schtick is well rehearsed, as may have been the line about making sure Ireland north and south was added to the tour at the insistence of the band after fan reaction but the reality is that hard work, hard rockin', hard's get the reception they deserve.

Come back soon guys!

Review by Jonny

Photos courtesy of MetalPlanet Belfast



LIVE REVIEW: Avast ye landlubbers Alestorm be bringing piratical fun to Belfast

ALESTORM, pirate metal, booze fuelled madness, laughter, inappropriate jokes and this time in Belfast with a support cast of equally swashbuckling characters in the city's Mandella Hall (17th October).

Billed as Piratefest this was the 34th show of the tour, and all the acts are honed like the sharpened Damascus Steel blade of a scimitar.

Opening up the proceedings is Rainbowdragoneyes. Now, we all appreciate a little bit of an unusual take on metal, and hopes were high when the synth opened with a Star Wars flavour....

Rainbowdragoneyes is Eric W Brown, a one-man act who sings death metal vocals and headbangs to beats and beeps composed on an 8-bit Gameboy; and then with a sly grin moves on to tracks composed on an XBox360.

There is no doubt that a lot of thought has gone into the compositions and arrangements, so much so that a goodly proportion of the rapidly filling venue were enjoying Brown's antics - especially when members of Lagerstein joined him on stage (the less about the Majestic Beast's tiger onesie the better). Was it a fun way to open the proceedings? Yes. Does Mr Brown's act have longevity? We doubt it.

No such thing could be said for Red Rum. Their take on pirate metal is full-on, no messing about. Shanties, folk, death metal, all welded together in a set of ferocious intensity. Ferocious pirates...well they also are said to have been pretty humorous too.s

Frontman Dave Everitt is an enormous presence, both in stature and voice. It was a set that utilised all the band members various talent, from lead guitarist, Sam Wood's bouzouki, bassist Steve Ryall's mandolin through to the relatively hidden guitarist Bekkie Brimby's occasional turn on the flute.

Lagerstein once more invade the stage, and with song titles like 'Make Port, Drink Port' (pirate reference, which we're sure you figured) it is clear that these Nottinghamshire bunch of reprobates won over almost each and every member of the crowd. A return to Belfast would be most welcome! [Editor's Note: Is Nottinghamshire not landlocked?]

The seven-piece ensemble that is Lagerstein, described by Alestorm's Dani described as a "bar on stage", was in Belfast basically to drink and put on a show while they were at it.

Hailing from Brisbane, this was like all the criminals who we shipped to Australia had come back and were determined to imbibe all the alcohol in the British Isles. Amidst the silliness, drinking competitions and beer bongs they have some terrific tunes of the piratical type.

Having encountered the recumbent form of bassist The Immobilizer previously bemoaning the strange couches in the dressing room it was clear that these weren't your common garden Aussie drinkers. We're pretty sure that as well as being the probable descendants of criminals they have been politely asked to leave the Land Down Under after drinking it dry.

At times hilarious, and at times musically stunning, Cap'n Gregaaarr led his band of (very)  merry men in a set that showcased The Majestic Beast's lead guitar, Neil Rummy Jackers rhythm runs, while Jacob (The Fiercest Pirate in all the Carribean) keyboards melded seamlessly with Mother Junkst's keytar and violin segments.

That The Immobilizer and Ol' Mate Dazzel's drums were able to stay in time was something of a miracle.

'Beer Bong Party' (with Rainbowdragoneyes aiding the bong quaffing along the way), and 'Drink Til We Die' were all great tunes, topped only by their cover of absurdist comedy/music troupe, Lonely Island's 'I'm On A Boat' with Alestorm's Gaz taking on the bass to allow The Immobilizer to, errrr, serenade us with the expletive packed lyrics.

Should Lagerstein once again depart from Brisbane for Belfast brewers across the land shall be in ecstasy at seeing profits soar.

It is something of a cliché that familiarity can breed contempt. Given that members of Alestorm hail from Norn Iron, and that they regularly dock their vessel in these parts for a show, it could be that these bunch of reprobates could be a little too familiar to the audience...nah, not a fucking chance!

Their ease in this city is evident as Christopher Bowes and bandmates happily stroll through the crowd beforehand, hang out at the merch stand and pose for photos - no over-priced meet and greets from Alestorm.

That Alestorm are still going, and still going strong is a tribute to two things: their strong instinct for great tunes, and the suspension of disbelief required by those in attendance.

Pirate outfits were much in evidence in the crowd, as well as t-shirts from previous tours. The belief was suspended, beers and rum had been downed and as the optics were attached to the drum kit it is fair to say that the audience was pumped and primed by the time opener 'Walk The Plank' rocked the Mandela Hall to its core.

Bowes plays the crowd like a conductor of the maddest symphony orchestra in history, while Dani provides the musical core alongside the flourishes of Bowes and Elliot on keys.

Old songs sit comfortably along with tracks from 'Sunset Of A Golden Age', in a set that is balanced and well plotted, despite the madness on stage and a crowd raised to fever (rum?) pitch.

'Drink' is a rallying call for all the bar flys who by now had deserted the bar to toast the pirates atop the stage. Although 'Magnetic North' was not originally planned to be in the set (see interview with Dani later) fans demand for its inclusion proved to be inspired as it sits perfectly before the stealing of Viking booty in 'Back Through Time' merges into the downbeat, melancholy tribute to bars in ports across the world that is 'Nancy The Tavern Wench'; a track that produced much arm-in -arm swaying and hugs from those assembled.

'Keelhauled' had every lyric shouted back at the band, as did 'Wooden Leg' with its dedication to Heather Mills....enough said.

However, it is wrong just to pigeon hole Alestorm. Their sound has developed, no less than on the opening encore track '1741 (The Battle of Cartagena). This is a mature track on the album, and live its epic feel and lyrical subject matter make it rise above what many chose to say about Alestorm. Simply awesome.

But, drinking is the order of the day. The cover of 'Hangover' produces The Immobilzer and Red Rum's Sam Woods on stage, as if the crowd were not sure of the lyrics...we needed no help!

With 'Captain Morgan's Revenge' including a wall of death that saw bouncers fleeing and Cap'n Gregaaarr diving into the proceedings, the evening concluded with what else but 'Rum'.

At the time of writing the Piratefest still has a few dates to run, but in Belfast it was something of an epiphany. Hometown heroes Gaz and Peter are clearly held in great affection by the crowd, and Gaz excels himself with an energy that was exhausting to watch.

Alestorm's pirate schtick may on the surface seem whimsical and have too much tomfoolery for po-faced metal snobs and sneering mainstream media types, but they miss the point.

On record they are a great sing-along act, live they are swashbuckling bundle of musicianship and madness.

Clearly all the bands on the Piratefest get on well - even if relationships are well lubricated.

Clearly Alestorm are on top of their game.

Clearly Piratefest wrapped the audience up in the mythos of piracy.

Clearly this was what everyone wanted.

Familiarity breeding contempt. Not a fucking chance in Belfast.

Review by Jonny

Pix by MetalPlanet Belfast

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