Review by Sheri Bicheno for MPM
Friday is here and it’s a stunning day with a start of drizzle and then sheer pure light!
Making my way into the arena, the entrance is highlighted by the overhead Lancaster Bomber suspended above, which was used on the 1979 Bomber tour, as a first sign of respect to Motorhead this year.
Adorned in lighting rigs, thousands of Bloodstock go-ers walk beneath it to reach the grounds of Bloodstock and also have the opportunity to walk through this years RAM Gallery to visit a special bust of Lemmy containing his ashes for fans and followers to pay their respects.
Heading over to the Sophie stage to catch one of the midlands newer old school death metal outfits, DeathCollector. Whilst on my way, through after Desert Storm, I caught the big screens of the main stage and saw an on-screen marriage proposal!
Congratulations to Slaughterhouse Festivals’ Ruaraidh and Lucy!
Heading into the Sophie stage was a crowd forming to witness DeathCollector with drummer Andy Whale‘s last ever show.
Atmospheric riffs ring out to introduce the guys on stage which melts into a pummeling drum fuelled intoxication.
A Taste of Ichor displays blast beating moments that entwine with some evil melodic and crunching riffs from Mick Carey to push force along vocalist Kieran Scott’s intense gutturals. The pace speeds up to deliver a raw and energetic track that sees the first bodysurfers of Bloodstock’s Friday make their way down to the barriers.
Kieran beams a huge grin in between tracks and gets the crowd moving.
“I want a unison of headbanging!”
Metal Hedonist oversees a circle pit down the front and the crowd all the way to the back headbanging in time to the blasts of the kit. Pure sinister riffs and bludgeoning bass notes exchange between Mick and Lee here and spin the energy between them into a visceral fast paced momentum that the crowd feeds upon.
Kieran announces that it’s Andy Whale’s last ever performance and the crowd launches into cheers, chanting Andy’s name across the stage.
Demonstrating an embodiment of energy to play as loud as ever, Andy launches into a brutal tirade of beats to power up for Death’s Toll.
This one is a fast one and has a frenzied circle pit encapsulating the front of the stage again to the ferocity of energy that Deathcollector churn out.
Over to the Dio stage and London’s Green Lung are deep into the realms of Maxine (Witch Queen) that has smudges of power infused vocals and mellotron keys to kick start the uplifting energy of the track.
Fist pumping speeds race through this track and has the crowd moving with horns raised to the air.
Swirling eerie moods throughout the track, we’re treated to a stunning guitar solo by guitarist Scott Black and catchy drum blasts behind Matt Wiseman’s kit that inject some beautifully moving moments in the track.
Mountain Throne uplifts the crowd into a feel good tirade of riffs and skippy chords laden with groove notes whilst vocalist Tom Templar belts out a vocal range that hits high peaks.
Jonn Wright’s 70’s style keys subtly edge the heaviness of the guitars until we’re delivered another awesome solo from Scott that takes the track into a whole new dimension for a few moments. Tom’s voice echoes atmosphere’s towards the end of the track and tops the energy from a bouncing fun song into a seriously jaw dropping surge of energy.
Hunters In The Sky crashes into the stage with a new twist of heaviness from Green Lung. The chuggy bass notes of Joe Ghast build the tempo to more injection of groove notes before waves of guitar riffs scoop through the track and time perfectly with the pitches of Tom’s high end vocals throughout.
It’s a fan favourite as the crowd is soaking in the high energy coming from the stage before roars of cheers erupt amongst the melodic moments that scatter through the end of the track.
“Bloodstock gimme a hey!
Gimme a HEY!”
Green Lung’s crowd obliges and shouts back to the stage.
“GIMME A HAIL SATAN!”
Offft, the crowd is rowdy! Bodysurfers are heading towards the barriers as we’re launched into a beautiful interlude of chords that burst into sludgy doom style riffs for Let The Devil In.
I absolutely adore this track in it’s live setting – layers of huge, psychedelic riffs crashing into bludgeoning drum beats really strikes it’s energy into you and creates this headbanger full of harmonies.
This one reminds me a little of Black Sabbath and Cybernetic Witch Cult in places, with it’s dark and doomy but energetic moods that has the crowd eating from the palm of their hands.
What a way to end a set.
Heading back to the Sophie stage to catch London’s Tech Metallers Exist Immortal the first thing I noticed is the sound drawing you in.
I’ve seen the EXIM guys play a few times, last time when they filled in for us short notice at Rabidfest in 2021 and the very last Tech Fest in 2023 – and lawdy, they are polished as hell.
Stunning melodics entice you towards the stage with tech infused riffs and high end gutturals to pull you further into the depths of what these guys can do.
I was in time to see them create a whole dimension of energy with Vexed vocalist Megan Targett for Higher Ground.
Raw and tone setting bassnotes of David Bilote launched the track to the crowd before a blistering trance of riffs storm in from Mikey Gee and Kurt Valencia that twinned the brutality of blasting hits that sticksman Charlie Bines dished out.
Vocalist Meyrick de La Fuente displays vocals that range from groundshaking gutturals and barks to beautiful clean tones to inject some really heart shattering moods.
Whilst having a powerful anthem feel, the dual vocals from Megan and Meyrick are completely stunning and these two, whilst brutal vocals stitch together, work so, so well.
The energy is HUGE and totally electrifying.
Whilst Megan brings a dynamic amplification to the track in it’s live setting, the stunning musicianship tightens up the groove fuelled tech notes of the track and offers something to totally get lost in.
“Still feeling good out there?” Meyrick addresses the crowd and is met with an almighty roar from their audience.
Launching into Satellites, an uplifting flood of intricate riffs hand in hand with some tempo changing groove blast beats create a strong feel good mood amongst the crowd. It’s a perfect summers day song with some stunning fresh, clean vocals that soar above the stage and bring down rays of light amongst the beautiful subtle basslines and gorgeous riffs that turn into a shredding solo before crashing into a shimmering vision of tones to fade into a really pretty ending.
Across to the Dio stage, one of my all time favourite bands were about to take place. Greek Melodic Black Metal lords Rotting Christ have shaped so many different styles of black metal through the years and this year released new album Pro Xristou – which I got completely and utterly absorbed in.
Female harmonzing vocals rang out across the arena and Rotting Christ encouraging the crowd to clap along, introduced 2010’s Demonon Vrosis – a perfect introductory track that melts the harmonized vocals down to a ripple of riffs.
“Are You Ready!?”
Sakis Tolis and bassist Kostas Heliotis jump across the stage together and headbang to the uplifting riffs and beautiful vocals in the background, creating an atmospheric vibe that welds into a low and choppy passage of vocals and chords that make space for some seamless intricate blast beats with stunning cymbal work from Themis Tolis.
Sakis ‘ signature rasp vocals engulf the stage through the atmospheric black metal vibes of their sound and commands the pace of the track with his voice in places. His guitaring twinning with Kostis Foukarakis creates a catchy and uplifting melody halfway through the track with the energy gently grinding to a halt for blackened speed bullet giant Kata Ton Daimona Eaytoy.
The riffs here are intense and couple with Themis’ turbo double pedals.
Windmilling hair on stage and emitting some serious amount of energy, the crowd starts the pit and soaks up this favourite riff fuelled number.
Though the speed of the riffs are insanely quick, there’s an element of melodics to the lead parts of the guitaring that tie in beautifully with the tempo changing beats.
“It’s been five years since we’ve been back to Bloodstock! Are you having a good time with Rotting Christ?” Sakis addresses the crowd and beams widely across his face.
“We have a brand new album called Pro Xristou. We have a new song for you.
Like Father, Like Son is one of my favourite tracks of the new album and right here seeing it in it’s live setting for the first time is pretty special.
Sakis and Kostis beautifully blend their guitars in this track to create a purely cathartic mood into it’s message.
The techniques used create atmospheric harmony and beautiful melodic leads and pair it with under riffs that keep the heaviness to the front and balance out the stunning power in the melodies before Kostis erupts into a striking solo.
Kostas bassnotes tie the riffs and prominent drum beats together to hold the pace and ambience of this track. Stunning!!
I head over to the EMP stage to go check out a band who have not long emerged from London’s death and thrash scene.
The trio for Lethal Evil is like something you’d expect from an early Sepultura show. The stage tent is absolutely rammed with people spilling out into the main arena and walkways totally immersed in the energy and tight musicianship of these guys.
The whole place is moving, it’s one of the few times i’ve seen that whole stage go absolutely nuts.
Generation Degeneration came in as a battering ram through the crowd, hitting hard with chunky, thrashing riffs blistering enough to melt your face off.
JP Lethal wields the storming riffs whilst harboring vocals that entwine thrash and old school death metal styles. His barking, growling vocals fill the stage and echo through your core to the beat of Evil E’s exceptional drumming that moulds the marching pace of the track.
With brand new song We Fight also released this weekend, the deathly trio gave a glimpse of this to the crowd with crushing ferocity, Here is also where we can really process the bass notes commanded by Diabolical C.
The guy is a machine that has a depth of cementing all of the instruments in Lethal Evil with the underlying glue to the overall sound.
JP Lethal interacts with the crowd and gets them to shout back HELL after counting them in to get ready for fan favourite Gates of Hell.
The guitar and bass combination time a momentum of headbanging along to the frantic blast beats of the drums that twist in tempo to deliver a thrash infused groundshaking track that has so SO much energy surrounding the stage whilst echoing the sinister moods of the vocals.
This is band that deserves a stage as big as their sound cuz they completely blew the roof off of the EMP Stage.
One of my favourite sets of the day by far.
Heading back to the Dio stage, the mightiness of Norwegian Enslaved was awaiting the crowd ranging all the way to the back of the field. With an LED logo pulsing onto the backdrop, synths emerging through the stage emitted to the hyped crowd with suspense and ceremonial style effects before plummeting into Kingdom.
With riffs raining down onto the stage, stunning keys edged around the catchiness of the chords and crashed into a fury of drum beats and winding guitar strings in the intro.
Forging into a heavy rainfall of hard riffs and solid beats, Grutle Kjellson roars into the mic and injects even more power into the melodics on stage.
“This morning, we got some sad news. A dear friend of ours passed away yesterday. So this whole concert goes to the memory of David Sweetapple from The Witch. TODAY!”
A STUNNIING profusion of melodic riffs wind into eachother between Ivar Bjornson and Arve Isdal amongst gnarling, powerful vocals that pull forward Homebound to the crowd.
The moods here were nothing short of striking. With atmospheric riffs settling to your core that layer heavy under chords between the cathartic moods, some subtle clean singing backing into the corners of the song gave a vibe that stayed with me the entirety of the set.
We’re plunged into a dreamscape melody of harmony sections that drift into Forest Dweller. Ivar Bjørnson heads up his signature rhyming sections before Grutle changes the mood of the vocals to face-melting shrieks and drops the song into a brutal section where Iver Sanøy leads into frenzied blast beats. The keyboards here sound like they shouldn’t work but the passage of almost psychedelic keys from Håkon Vinje absolutely works.
Ivar and Arve display how they fit the heavier black metal style into drifts of harmonies that play with a more progressive style of atmospherical riffs and marry up amazingly with the pace that Iver delivers on the drums’ command in Havenless. This track is much more of the black metal air that I love about Enslaved with higher pitched vocals and raw production of instruments.
I love Enslaved for their diversity between black metal and blackened edges of pagan styles.
Heading across to the New Blood Stage, it was time to check out Scottish M2TM winners Hammer.
The New Blood Stage was absolutely heaving and full of bodies flying about in the mosh pit.
From Beyond offered a tech infused start off with some gorgeously heavy melodies amongst the brutal slam styles nestled in between the tech and groove full frontal brutality that these guys have going on.
Pipes deliverer Jim Andrews is an exceptional vocalist who uses his whole force of energy to deliver face melting gutturals that meet with hardcore notes in places to match the stunning ferocity and tech crunching riffs of Adam Poustie and Dave Farrell.
The clever tempo changes with a mild pause mid song throw the audience pit into a further frenzy and we got INFLATABLE BEACH BALLS UP IN HERE.
New track Accelerator is a fast one and entails a maddening riff that races the crowd into a circle pit towards the back with heart stopping inputs of tempo breaks that give a filthy edge to the guitars.
Drummer Keith Blaikie is on top form as always with his ability to morph the directions into twists and pulls of hard hitting double pedals, blast beats and outstanding cymbal work to grow with the crunching backbone of the low and slamming labyrinth of Piot Kasprowicz’ bass notes.
About three quarters of the way through the track, a stunning solo overtakes the groove riffs and comes crashing together with the melodics and blasts of the kit to end in a frenzied beautiful conclusion to the track of short, sharp strings under Jim’s brutal vocals.
You can absolutely tell that these guys love doing what they’re doing. The energy from the stage is totally immense and you can feel every ounce of effort behind these guys to deliver one of the New Bloods most blistering performances of the day.
Dusk settling over the skyline, a beautiful fitting mood for dynamic Swedish metal giants Opeth to headline the Friday.
Setting the stage in blue hues of lighting and ceremonial chants (Seven Bowls) to encapsulate a mood igniting setting, Opeth appear on stage one by one with a suspense filled atmosphere before launching into The Grand Conjuration – a bold and immersive statement to start off their set.
The track is simply heavy and encompasses everything Opeth about Opeth. The intoxicating notes of guitar feed through Prog and at times, a little Doomy, moods that realm in and out of hypnotic chimes that are only pulled back once the heat is turned up with scratching riffs and blast beats under Mikael Akerfeldt’s morphing harsh vocals.
Known for pushing the boundaries of tracks over 10 minutes long, it’s important to note that Opeth are not just to be enjoyed as written songs, more of an experience… because that is exactly what you’re going to get.
Ranging from dreamlike notes to beautifully melodic soundscapes that tangle with heavy drums and striking riffs in a smooth transaction that means you can barely notice when the mood shifts.
Chiming through the falling dark, an eerieness is cast upon Bloodstock before launching into a drum and riff engulfed intro to Demon of the Fall.
The vocals here are menacing and being one of the heavier tracks of tonight from Opeth, has a distinctive reaction from the crowd of that false sense of security settles in and we’re plunged into a gentle lull of guitars before the floor comes away beneath us and takes us down a dark hole of Fredrik Akesson and Mikael’s threatening riffs intensify and the blast beats are upped from behind Waltteri Väyrynen’s skilful dimensions of blast beats and pulsing of the drums.
Hypnotic keys of Joakim Svalberg entwine with the beautiful atmospherics of the guitars to create a catharsis amongst the chaotic moods of the track before trailing into a heartfelt ripple of guitars to end the track.
‘Whats up you limey f*cks?” Mikael greets the crowd and is answered with a huge surge of cheers from the darkness of the fields and requests of Freebird.
“Freebird? That’s an awesome song. Tuesday’s Gone, Simple Man, Two Steps… these are all good songs.
Let’s spend the rest of the evening talking and thinking about Lynyrd Skynyrd… I’m already there.”
As this is the first time in over a decade that Opeth have been back to Bloodstock, he reminds everyone that they are a band that take their time in between long songs and enjoys the banter with the crowd, interacting as if he’s in a field full of friends.
“You may or may not know that we have recorded a new record. And my manager is angry with me because I don’t remember when it will come out.” This puts laughter into the crowd before playing a track from album Damnation…
In My Time of Need drifts into a beautiful soft harmony and gentle vocals edging into a dreamy, airy style of emotion. This track reminds me very much of Porcupine Tree meets Pink Floyd. A super mellow mood over the drum cymbals and bluesy bass of Martin Mendez.
Super beautiful.
To contrast the most chilled song of Friday’s Bloodstock, Heir Apparent rings out a threatening and intense tone of tech fuelled choppy riffs with gutturals that fuel the astonishing blast beats of the kit wielded at the back of the stage.
The guitars are truly filthy here with some prog notes that melt into elements of Death Metal to fuse together some dynamic styles of shredding and solos.
To end Opeth’s comeback to Bloostock, encore Deliverance see’s over a farewell of stunning intricate guitar riffs underlying a tempo changing melody hanging onto the trails of psychedelic style synth keys on clean beautiful bridges that throw in and out of harsh gutturals that dominate the energy once they kick in.
Opeth have well and truly made a mark on Bloodstock history and as there is so much of them that entails something for everyone, they absolutely blew that stage roof off.
“Goodnight, we love you.”
Afterparty:
I took a sweep down to the Sophie Stage to go and get a headfull of one of the music scene’s most modern boldest metal outfits. In fact, there is no one way to describe Igorrr – where there is experimental, industrial and completely unhinged extreme metal entwined with classical operatic elements it sounds like it shouldn’t work but it absolutely is genius.
Spaghetti Forever is a fine example of this to start off in their set.
Speed in time shifts the dynamic of the track and creates erratic styles to allow the music to freely enhance each section together. Absolutely chaotic, however the free flowing elements of it creates compositions that are complex but totally addictive.
Viande is another fine example of this but offers a more rave style of tech infused metal with futuristic vibes. Watching the red smoke from the stage amongst the completely absorbing energy of this artist was so hard to pull away from. LIke watching something that you’re not sure is quite there in a split second but you know it totally was.
Everything about this artist seems sci-fi and digital, from the powerful vocals that entice a vision of a glitching mad scientist to the technical elements of super brutal beats and hard hitting riffs.
An artist I feel that should have the stage when everyone is around!
I drifted to bed with a buzz in my step. What a killer day!
Photography by Pete Key & Artur Tarczewski for MPM
