Review by Gary Spiller for MPM
Twixt the twin stages the antlered skull of Hirschbert, the festival’s enduring mascot, proudly adorns the fifty-plus pipes of the Rockharz organ.
Rooted, and luxuriating, in the very soil of the Harz two cowled guardians oversee the protection of its precious structure. Their fawn-hued robes, fringed in a titian electricity, are also at one with the land harnessing an intrinsic energy.
It’s been a herculean effort of sorts to arrive here in this particular corner of Germany in the Harz district of Saxony-Anhalt. Following two solid days of travelling and nearly 1300 kilometres under the wheels Kelly and I are under no illusion of the vastness of mainland Europe by the time we park up and apply the handbrake for the last time for four days.
This is the most literal journey of musical discovery we have embarked upon thus far. At the beginning of the year our boss here at MPM Towers, Darren, ‘challenged’ us to look outside of our rock n’ roll comfort zone by assigning us the likes of Dragonforce, Nothing More, Esprit D’Air. A realisation began to dawn that there was far, far more to things than we’d encountered. Thus, the door to another dimension was opened and we stepped through the beckoning threshold.
Celebrating its 30th incarnation Rockharz has, since its inception and inaugural edition in 1993, matured into the fully, fledged metalliferous warrior that it currently manifests as. From a single day, single stage entity to one that now runs rammed pack, upon co-joined stages, over a four-day spread, with no overlap of timetabling, this is an event that had us licking our lips and grinning like the proverbial Cheshire Cat from the moment of our initial invitation.
Since switching base from Förste – on the opposite side of the Harz – in 2009 this is an event that has evolved and grown under the kinetics of its incredibly unique brand of dynamics. This year nearly 25,000 metalheads will descend upon Ballenstedt’s airfield for a scheduled record-equalling 59 bands across two stages and four days of utter mayhem! SPOILER – Unfortunately, a thunderstorm, on the final day, puts pay to three bands’ performances thus 2023’s total remains a festival record.
Under the watchful shadow of The Devil’s Wall (its native name Teufelsmauer is as equally image invoking) – a delineation, dividing the fertile plains and ore-bearing mountains, of which the Devil came so close to completing afore the crow of the morning cockerel (if you believe such yarns) – the Ballenstedt airfield was selected for not just its relatively remote location but also for its room to expand.
This is one of the largest multi-day festivals we’ve ‘covered’ as media – by virtue of the number of attendees – somehow Rockharz retains a family and small community vibrancy. It’s immediately striking the large-scale intimacy and diverse nature of proceedings. Rockarz’s 14th instalment at the airfield is its 6th and, to date, most successful endeavour.
It’s the most magical of places where lustrously tinted unicorns and gaudy rainbows nestle harmoniously amidst marauding Vikings and toilet-brush wielding grindcore aficionados all the awhile in a sea of denim and leather. Pink is the new black by some accounts and quite rightly so!
The honour, and perhaps somewhat formidable gauntlet, of opening up the festivities is handed into the surefire grip of Icelandic power metallers Power Paladin. Making a triumphant entrance to ‘A Cup Of Liber-Tea’ – Wilbert Roget II’s theme tune to the recently released video game Helldivers 2 – the sextet rapidly set about seizing the initiative. Underneath clouded skies bedecked, right across the ranks, in shorts they’re right into their stride.
“Hello beautiful people of Rockharz, we’re on a grand quest to bring you Icelandic metal. Only one question. Do you wanna get rocked?” enquires singer Atli Guðlaugsson. It’s just after half three in the afternoon and there’s a decent sized crowd who most certainly do.
2021’s brace of singles, which preceded the release of debut album ‘With the Magic of Windfyre Steel’, bookend a rapid-fire half hour set. The furious and frenetic ‘Righteous Fury’ taking the starter’s signal and the cracking melodic speed metal of ‘Kraven the Hunter’ closing the party with keyboardist Bjarni Egill Ögmundsson getting in amongst the action amongst fulltime guitarists Ingi Þórisson and Bjarni Þór Jóhannsson with his six-string charge albeit an inflatable one.
PP’s set is a surefire speed metal romp through Hi-fantasy and with my literary leanings towards Tolkien and Terry Pratchett I’m soon hooked with the band’s penchant for all things of legend and lore. “Alright Rockharz the next grand song is about elves and woodland and stuff like that!” Guðlaugsson informs of ‘Dark Crystal’.
At their most pacy it’s Helloween raised to the power of Dragonforce harnessing a channelled focus of Iron Maiden. Chuck in the Sabaton infusion of ‘Ride The Distant Storm’ that hollers right out of the Northern volcanic wildlands, where even the beaches glisten black, and a daubing of Kiss within the bounds of ‘Creatures Of The Night’ and the portrait from the chill waters of the Northern Atlantic is complete.
The accolade of the festival’s first crowd surfer – ‘stretchered’ aloft to the front by a willing crowd – is bestowed upon the Icelanders. Suited in a white disposable overall and proudly wielding a toilet brush he grins from ear to ear; Rockharz’s ‘crazy’ is well and truly underway.
On an opening day chock full of quality and with offerings, diverse enough for to ensure something for everyone, spread upon the broad metalliferous Rockharz altar the eight warrior elements that comprise Swedish power metal outfit Brothers Of Metal stride forth to a fanfare of the Norse gods. With a steely intent in their eyes and a silent swagger respect is paid to Baldur son of Odin and Frigg.
From their homebase of Falun this merry horde have travelled from one UNESCO World Heritage Site to another at Quedlinburg just a handful of kilometres to the north-west. Such is the exigency of their quests that, with three guitarists and an equal number of vocalists, it’s most certainly a case of that more is more with Brothers of Metal. Shy and retiring they are not; growling vocalist Mats ‘Tongue of The Gods’ Nilsson introduces “We are Brothers of Metal” adding the unashamed self-proclamation “We are the best metal band in the world!”
Twenty-one dates early in the year, in support of Beast in Black and Gloryhammer, across Europe, has been followed by festival appearances at the likes of Finland’s Metal at Tuska and Graspop in Belgium. Activity that stands the octet in good stead not only for today but for their eagerly awaited third long-player ‘Fimbulvinter’ in early November.
Aside from 2022 single, written in respect to Vidar, survivor of Ragnarök, ‘The Other Son of Odin’ – which is due to be included upon ‘Fimbulvinter’ – their set is drawn from their two albums, 2017’s ‘Prophecy of Ragnarök’ and ‘Emblas Saga’ from 2020.
There’s a predilection to take fellow Falunians Sabaton and inject that into a folky arena clearly demonstrated none more so than in the bare-chested war-cry of opening track ‘The Death of the God of Light’ and ‘Njord’. The former a sodality from the grand summits, the latter a slab of proud Nordic metal.
An underworldly spirit rises in the tribal metal of ‘Prophecy of Ragnarök’ whilst ‘Ride of the Valkyries’ serves up rapid magniloquent pagan metal. As the rats, and then the children, followed the summoning powers of the Pied Piper’s magical instrument, so the surfers respond in waves to the Maiden-esque funerial march of ‘Powersnake’.
Nilsson, ahead of ‘Defenders of Valhalla’, rallies as launches an empty plastic glass crowdwards “This is the last beer we have on stage, so let’s give you one more song!” Rockharz engage full-on with the Celtic folkisms, the touches of Dropkick Murphys whipping up a fury. Brothers of Metal have conquered in the name of their gods.
With a live show total rapidly nearing the 300 mark since their live debut just three years ago industrious is a definition that can readily be applied to American rockers Mammoth WVH.This evening, under a grey sky with some precious blue flecks breaking through, Wolfgang Van Halen and his tight-as-heck band – all dressed uniformly in black – are coming towards the tail-end of a month-long mixture of shows on this side of The Atlantic.
Prestigious dates supporting Metallica and Black Stone Cherry as well as festival appearances and headline gigs. All this prior to returning Stateside for further slots with Foo Fighters, Metallica, and Creed with even more headline shows thrown in for good measure.
Yes, there’s the undeniable leg-up from being the son of a rather famous guitarist but let’s ensure that credit is applied where credit is meritoriously due. This is one gent who stands firmly upon his own two feet independent of the Van Halen legacy. There is no mention of his late father nor any of his music aired; this is an individual keen on letting his own endeavours speak for themselves.
Like opening gambit ‘I’m Alright’ three quarters of the set is derived from last year’s ‘II’ album. “Just take it slow now, don’t get bogged down” advises WVH amongst the nitrous-injected Foo Fighter aspects. Raising an unspoken peace gesture, at track end, WVH casts an endearing character.
After powering headlong into the succulent squealing ‘You’re To Blame’ and prior to despatching the searing stampede of ‘Right?’ Van Halen greets the massed ranks after offering his guitar to the Rockharz gods from aloft. “Our first time at Rockharz, we’re Mammoth and we play loud music!”Not a dissenting voice to be heard. The former, alongside penultimate number ‘Don’t Back Down’ and its rally-call chorus, are the sole forays into the well-received eponymous debut of 2021.
During the lightning strike rock of ‘Like A Pastime’ a yellow helicopter, with the lettering ADAC on its side, takes off from close by. WVH hauntingly good vocals during ‘Optimist’ ensure darkening tones swirl about.
With a mellow intro ‘Take a Bow’ that, whilst simultaneously stabbing and searing, tracks upwards and constitutes as a further sideways introspection of the Foo Fighters in quarters. It’s no terrible thing in my books, far from it; overall, however, Mammoth WVH are pre-occupied with being the very first Mammoth WVH and not evolving into a carbon-copy on what has preceded.
Savouring every moment of the torrent of hard rocking that comprises ‘Another Celebration At The End Of The World’ this is epitomises what rock is about. Stood shoulder to shoulder amongst the massed ranks of Rockharz, the jagged sandstone outcrops of the Teufelsmauer maintaining a vigilant eye, there are no strangers just friends to be made. The sense of community is keen herein.
The allotted forty minutes is over too quickly – Einstein stated time is relative, here lies the evidence I feel – as the last blisteringly incendiary notes radiate across the surrounding landscapes and I feel a warming sensation deep inside.
A mighty eleven albums over nineteen years since their formation in Ruppichteroth back in 2003 Kärbholz are, five bands in, the first home nation outfit to tread upon 2024’s Rockharz stage. Singing in their native German proved challenging in the realm of track identification but thanks to the kindness of guitarist Adrian Kühn the setlist was pinned down post-show.
Even though my German is utterly non-existent Kärbholz, the first of many throughout the festival, proved that music transcends borders and languages. Drummer Henning Münch raises a beer, Stefan Wirths’ bass growls menacingly before Kühn and vocalist Torben Höffgen assemble. 2017’s studio long-player ‘Überdosis Leben’ is well represented in Kärbholz’s timetabled 45 minutes with five numbers craned in.
IT’s clearly an offering held in affection by the band; in neat symmetry, the punky title track, creating a storm with its coherent rage, opens up and the roaring bounce of the Iron Maiden fringed ‘Feuerräder’ administers the final polish.
Between these first and last exchanges the further explorations into this 2017 album further whet the appetite. ‘Ich kann es nicht ändern’ is inferno-like, an energised Höffgen bellowing a mighty impassioned “Rockhaaaaarrrrrz!”, with touches somewhat reminiscent of Girlschool’s ‘Emergency’ darting in and out. Leading towards the halfway point a pairing of the bounce-along ‘Perfekt Unperfekt’ with its dapper ska ‘chops’ right in the mix and the surprising bluesgrass-ish acoustic fundaments of ‘Kind aus Hinterwald’ are lapped up in a fervent crowd singalong.
It is the despatch metallic punk or punk metal, the set swing one way then the other and come the end there is no definitive answer other than it’s all rather wholesomely good. There’s the surging power of ‘Ewig Leben’ and the ebbing and flowing hi-kinetic passions of ‘Das Hier Ist Ewig’ lobbed into the broiling cauldron.
A heated cast-iron container that overflows with a triple-pronged cavalcade of the unmuzzled thrashy punk of ‘Raubtier’, the hooky ‘Tefflieger’, and the powered glory of ‘Mutmacher’ all leading to the moment leading into ‘Feuerräder’ when Höffgen, head leant backwards, gently evokes the crowd’s adulation both hands stretched out by his waist. Rockharz sizzles.
The metallic genre divergency continues unabated as we switch over to the pioneering industrious sounds of Oomph! Oft cited as an influence upon a certain Rammstein this outfit are considered one of the initial establishers of the Neue Deutsche Härte subgenre. One in which components including alt-metal, groove metal are thrown into the melting crucible with electro-industrial and techno.
Celebrating their 35th anniversary Oomph! are as fresh and relevant as they were in their formative years. A ‘hiatus’ of a couple of years from the live arena followed the announcement, in September 2021, that co-founding vocalist Dero was parting ways with the band. Returning with new vocalist Der Schulz, alongside original guitarists CR4P and FLUX Oomph! released their 14th studio album ‘Richter und Henker’ amidst much fanfare.
For many the chatter was how would Schulz sound and how he would step into the void left in the wake of Dero. For myself I was plain excited to see one of the bands that had leapt out from the playlists pre-festival and ‘demanded’ my attentions.
Surely sweltering in sumptuous long fur coats Der Schulz, CR4P and FLUX take the frontline accompanied by their touring band members on drums, bass, and keys. Smoke billows and sirens roll before the introductory poundings of ‘Soll das Liebe sein?’ resonate deeply. The forefathers of Rammstein instantly command attentive qualities with their metalliferous electronica.
The compelling enchantment of ‘Träumst Du’ with its huge nod towards Gary Numan within the twisted buzzsawing riffage and concussive electronics is a wondrous industrial expunging. The brief lush airs of ‘Richter und Henker’ explode violently; herein this earthquaking industrial metal the Rammstein connections are seemingly two-way.
Replete with the crowd clapping to the drummer’s lead of Queen’s ‘We Will Rock You’ the aptly subterranean dwelling meaty tech-metal of ‘Labyrinth’ gets Rockharz bouncing. ‘Nur ein Mensch’ lies somewhere in the wasteland plains between Rammstien and Sisters of Mercy with its thumping gothic-tinged industrious metal.
Throughout I’m bewitched, taken well out of my musical comfort zone and feel that bit more complete for it. I conclude I require more of this in my life in order to break away from an increasingly staid middle ground that I seem to have slipped into. ‘Sandmann’ is purely machinery in motion prior to returning to the judge and executioner for further gothic entwinements within ‘Wem die Stunde schlägt’.
The weighty mechanised strongarm of the flavoursome ‘Gott ist ein Popstar’ lays waste to Rockharz as the crowd erupts prior to the showstopping contagion that is ‘Augen auf!’ Above an ever-nearing hot-air balloon surveys the wild scenes as what is considered to be Oomph!’s most commercially successful single blazes wildly. Not for the first time today we are delighted to have a new-to-us band and subgenre to explore further.
Temporarily side-stepping his duties in the ranks of the legendary Iron Maiden the ever-youthful Bruce Dickinson has spent the last couple of months zigzagging across Europe with his current solo project The Mandrake Project. Copenhell, Graspop, Hellfest, amongst many, and now a mid-week date with the Rockharz masses! In mischievous mood he is clearly enamoured with the selection of food options surrounding the arena quipping “Stop playing with your pulled pork at the back, pork is not for pulling!”
Am I excited? You betcha! It’s well over three decades since the one and only time I met Dickinson post-show outside Leicester’s De Montfort Hall on Maiden’s 1990 ‘No Prayer on the Road’ tour. At his side, his second wife Paddy Bowen carried, in her arms, a tiny baby which cross-referencing dates is quite likely to have been their oldest son Austin, at that juncture not even two weeks old.
It’s high time that I caught up Mr. Dickinson in the 21st century as he edges into his mid-sixties. You wouldn’t know it however, given the ever-athletic physique and timeless twinkle in his eyes. Whatever anti-aging process that has been undertaken I sure as hell want a ‘taste’ of it! I mean was it really 40 plus years since Dickinson took his first career steps joining Samson? Just one track in and he’s hastening hither and tither roaring “Let’s get this place destroyed!”
“Alien invaders from a dying planet, their target Earth!” so begins the introductory scene-setting commentary. As the spinning coin decides the planetary fate so the dam bursts. Alongside him Dickinson has assembled a fine quintet of international musicians.
With an Irish bassist (Tanya O’Callaghan), guitarists from Sweden and Switzerland (Philip ‘The Viking’ Naslund and Chris Declerq respectively), an Italian maestro of keys and keytar (Mistheria) and a California-born drummer (David Moreno) it’s truly of league of nations – a parallel of sorts to the double figure tally of nations represented upon Rockharz billing.
In a set dealt from five of Dickinson’s solo albums the first card put into play is the titular track of 1997’s ‘Accident of Birth’ which with its rich duelling twin guitars elicits a thunderous reception. Into ‘Abduction’, right out of the hard rocking arid dustbowl, and it’s Rockharz’s turn for the trademark Dickinson “Scream for me [insert place/festival name]”. For that moment it’s 1985 and ‘Live After Death’.
‘Laughing in the Hiding Bush’ bristles with dabs of ‘Murders In Rue Morgue’; NWOBHM well and truly alive in the 21st century. Naturally, there’s vivid, jagged flashes of Iron Maiden across the obsidian sky, it’s inescapable with the voice of 36 years and a baker’s dozen of studio long-players, especially during the pagan enchantments of ‘The Tower’.
Civilisation lies ablaze in the wake of the eruption of ‘Afterglow of Ragnorok’ the first selection from ‘The Mandrake Project’. A chuckling Dickinson enquires “Did I hear something about getting married?” prior to ‘Chemical Wedding’; above the cloud, stubborn for most of the day, begins to break with patches of blue appearing in some kind of meteorological deference.
Never once is the Maiden trump card played, to be honest it’s not required. Talking about their recent Hellfest appearance Dickinson notes they’ve got longer this evening – 80 minutes as opposed to an hour in France – clearly relishing the additional time. The masterful slice of balladic prog metal that constitutes ‘Tears of the Dragon’ one of number of tracks not included at Hellfest is despatched.
‘Resurrection Men’, a slower paced Sabbath fusion, is coupled with ‘Rain on the Graves’ replete with its flashes of a brusque Rammstein.
A meandering version of Edgar Winter Group’s million selling instrumental single ‘Frankenstein’ witnesses Dickinson, comfortable in the surrounding talent, stepping back to strike a stand-up drum kit before exhorting a theremin into life.
The opus ‘Book of Thel’ and the melodic ‘The Alchemist’ pave the way for ‘The Tower’ a hat-trick from ‘Chemical Wedding’ to close matters on a high. It’s been a truly warping conjuration one of which has Rockharz smiling.
German metal legend Udo Dirkschneider is held within lofty acclaim in his home nation. A founding member of metallers Accept, an acknowledged part of the development of speed and thrash metal, he has gone from strength to strength. Since being fired by the band in 1987 he has garnered further successes with U.D.O.
Brief reunions under the Accept flag have come and gone and nowadays the 72-year-old vocalist is content to tour the Accept material he is synonymous utilising his surname. Beneath blue lighting Dirkschneider ignites the Rockharz stage, hellbent on unleashing a considerable amount of devilment.
The spotlight is shone upon the four albums released in the 1981 to 1985 period, considered by many to be Accept’s ‘golden age’. Amongst the eleven tracks firmly delivered inside of 70 minutes are, quite amazingly, each of the title tracks from this quartet of much-revered releases.
Four tracks in the Judas Priest fringed juggernaut autobahn metaller ‘Breaker’ is not long followed by the howling banshees of ‘Restless and Wild’. As the voltmeter is ratchetted up beyond safe levels ‘Metal Heart’ is tubthumping yet brooding in equal measures; the iconic ‘Balls To The Wall’ closes the set in rumbustious fashion.
Afront the Marshall ‘Wall of Death’ Udo and his charges demonstrate as to why Accept are a vital cog in Germany’s rock annals. The formative metal of ‘Starlight’, with Udo’s branded rasping scream atop of the inferno, harks back to the wild days of ’81. The Devil’s Wall is shaken to its foundations during the resounding ‘Living For Tonight’ whilst the classic NWOBHM vibrancies of ‘Midnight Mover’ attempt to shift time itself.
There’s immense Rockharz reverence that builds up as the set progresses. Soaking it all in Udo prowls stage front conducting and surveying the scene as the crowd loudly sing. The entire arena erupts for ‘Princess of the Dawn’ and its obvious Saxon comparisons.
‘Restless and Wild’ locks arms with ‘Son of a Bitch’ its brother from another mother ahead of the traditional metal overtures of ‘Screaming for a Love-Bite’. Would love to know what Beethoven’s thoughts are on the segment of ‘Fur Elise’ despatched upon six-strings in the midst of ‘Metal Heart’. Given there’s a school of thought that the composers of that era were the ’headbangers of the day’ I’d like to think he’d approve.
Penultimate number ‘Fast As A Shark, a 1982 trailblazer, brings us to the point all have anticipated. Udo soaks up the Rockharz love as the unmistakable wrecking ball of ‘Balls To The Wall’ swings right across the festival site. As midnight nears it’s been everything expected from an iconic figure.
Straddling the midnight hour Finnish heavy metal sextet Amorphis draw another large crowd as day one nears a heady conclusion. A constantly evolving beast Amorphis consistently refuse to be defined by genre boundaries. Early forays into death metal were soon joined by golden nuggets of folk, Viking, and progressive directions. Physch and melodic elements weren’t far behind.
34 years in the construction the keystone to Amorphis is stability. The ever-present guitars of Esa Holopainen and Tomi Koivusaari being rejoined by fellow founders drummer Jan Rechberger and bassist Olli-Pekka Laine in 2002 and 2017 respectively. Keyboardist Santeri Kallio has over two decades of service under his belt whilst vocalist Tomi Joutsen is closing in upon that mark.
Shadowed forces steamroller upon silent still waters soon bringing a turbulent kinetic with them. ‘Northwards’ possessor of a neo-classical feel as prog is upturned into heavy domains opens up, the initial salvo of a triple helping from the most recent album ‘Halo’.
Following the running order of ‘Halo’ so the unstoppable energies coalesce for ‘On The Dark Waters’ surging into ‘The Moon’ an aspect gentler than that which has preceded yet still a doom-laden storm force 10. Fusing elements of Pantera in a symphonic setting Amorphis achieve melodics from the crypt.
Heading into folky, melodic, dark metal regions ‘The Castaway’ holds a brightly burning torch to mark the 30th anniversary of its parent album ‘Tales From The Thousand Lakes. Pulsing and surging the six-piece take Rockharz in an unyielding clasp.
Other than a brief greeting from Joutsen it’s noses to the grindstone as the searing guitars of ‘Silver Bride’ spark wildly. The powerhouse trip ‘The Wolf’ is the soul extractor immortal. Tearing at the inner psyche and wrenching it mercilessly from within.
‘Wrong Direction’, moody and atmospheric, sets a scene of fiery summits afore ‘Black Winter Day’ weave an incantation summoning spawn from their abyssal dwelling. There’s strongarm Viking-esque calling within ‘My Kantele’ to ensure a continuing variance.
Clear crowd favourite ‘House of Sleep’, simply epic, is a latter-day anthem which overflows into the speed indulgences of ‘The Bee’. The dam, which has threatened to for the last hour, finally bursts cascading into the void. Amorphis have impressed, so much so that this has been a personal discovery in a day rammed full of such. Our metal odyssey gains further expansiveness thanks to a stellar opening day of Rockharz.
Photography by Kelly Spiller for MPM
