Review by Sheri Bicheno for MPM
Saturday morning was a beautiful summer morning, sunshine beaming down and the sound of Midgard waking up, breakfast cooking and coffees on filled the air.
So what better way to wake up than go see a black metal band on main stage this morning?
The Ronnie James Dio stage was doused in swirls of smoke and yellow lighting whilst raw low frequency riffs chimed out of the stage in an almost intergalactic, cosmic vibe full of heavy slab like chords and doom infused drum beats for London’s answer to Black Metal, Deitus.
Atmospherics filled the air for Incursion that saw the band arrive on stage covered in ritualistic blood and make up.
Some stunning musicianship right off the bat with the melodics being the main focus of the introduction to the set, paced the mood of some stunning darkened ambience.
Catapulting into Straight For Your Throat, the pace of guitars quickened to scratchy and furious speeds to match the blast beats of the drums – creating a raw frequency amongst the live setting.
With thundering vocals that bark through your core, there were some moments of pure euphoria present through the stunning work behind the kit that implemented a tempo change about halfway through the song to submerge you into a dose of melodic intoxication amongst some of the best fretwork I’ve ever seen with a black metal band.
With A Scar For Serenity bringing in some more traditional notes, the production of these guys is still very raw and in black metal artists is something I love as its not over saturated with polished frequencies. There’s some old style feelings with these guys without trying to be anything but who they are.
The breakdowns in this track is totally dimension changing. The guitars and bassnotes take a heavy spiral down about halfway through the track that implement a chuggy, evil twist into the track.
Maddened expressions on their faces whilst performing, these guys are also about providing an experience of storytelling in their music. The energy is absolutely insane with these guys and was topped off nicely by rounding everything up with an energetic fury of GG Alin’s Bite It You Scum.
One of the best Black Metal bands I’ve seen live for a long time.
I’d headed to the New Blood Stage to see Blues Rock outfit Stone Soup but sadly as they had a 10/15 min late start and I was in between interviews, I could only catch one song.
But I want to stress how absolutely absorbing these guys are – the use of harmonicas and totally exhilarating doomy sludge riffs is completely captivating.
The vocals are clean but flirt with edges 70’s style Rock amongst beautiful groove fuelled solos and catchy intricate drums.
These guys are a feel good band and I’d highly recommend going to see them!
Turning up to the Sophie Lancaster Stage next for a taste of something different… First time in the UK, New York Goth meets urban metal outfit Ludovico Technique brought with them intoxicating futuristic melodies with an Industrial ambience.
“Come on Bloodstock, play with me a while… If you wanna move with us, now is the time.”
Vocalist and only known member, Ben V. launches some exceptional energy into the crowd.
Donned in a theatrical black gothic make up, Ben demonstrates the art of Ludovico Technique with clean vocals that harmonize with the dark cloaked figures on stage that combine ripping chords and synth style keys that churn into an eerie rave style beat for Absence.
It’s beautifully immersive as the heavier styles peek through the synth elements to input a techno gothic feel that create a really euphoric and dark energy.
Launching into another dimension of Ludovico Technique, Live As Myself blends beautifully through an intro of sombre keys and melodic reverberating strings before crashing into a heavier riff driven chuggy harmony. Ben’s vocals demonstrate another stunning range of high pitched screeches that incorporate a raw mood amongst the choral synths that balance out between light and dark in this track.
A track about self acceptance in the world as it is around that person without conforming to society’s perception of oneself, this one hits home and has a huge energy to embrace it into the crowd who are spilling out of the Sophie Stage.
A new favourite!
After a long run of interviews, I’d gone back to the Sophie Stage to check out my mateys in one of the UK’s most loved Pirate Metal band, Red Rum.
With a full on barrels of fun vibe of sea shanties and metal elements combined, this takes Red Rum’s performance to a whole new level from the crowd’s perspective.
With age old fan favourite They’re Taking The Hobits To isengard, you’re drifted into the beautiful theme of Lord Of The Rings with folk strings and gentle keys before the Power side sweeps in and suddenly a surge of huge, fun filled energy comes crashing in.
Captain Davey Silver is the narrator of the ship amongst the sea of moving bodies with pints raised to the air, dancing their feet off in a swarm to the front.
Newer track 50 Gallons Of Ale see’s in a surge of energy amongst the stage with huge riffs and melodic moments during choppy guitars and drums.
Red Rum are traditional folk-based musically with mixes of catchy metal undertones and lyrically they output storytelling of drinking and travelling the seas (Make Port, Drink Port) with songs are infused so much towards sing-along belters.
Not taking themselves too seriously, they’re all about fun, good times and getting drunk. But also they write amazing songs too with an upbeat mood blending into silliness and feel good moments.
Heading over the Dio stage, Florida Death Metal giants Deicide took no time in launching into a facemelting tirade of riffs and blast beats.
When Satan Rules His World comes charging in like a battering ram with the power behind the bass and guitars commanding a head banging pace amongst the most brutal blast beats shadowing the stage.
Glen Benton’s vocals are gruff and barking amongst the sheer magnitude of the tight momentum going on, on the stage.
A great intro to the set, towards the end of track the pummeling blast beats take a killer turn where Steve Asheim takes the direction of double pedals and reverses the blasts into a spiral of absolutely jaw dropping speeds whilst bodysurfers make their way to the barriers.
Sirens ring out to introduce the beginning of Carnage In The Temple of the Damned that make way for some old school thrash riffs that Kevin Quirion and Taylor Nordberg dual out between them in a complete inferno wave from the stage.
The energy is completely raw here and creates a frenzied crowd beneath them with pits going crazy and bodysurfers still making their way to the barrier.
Glens vocals range from barking shrieks to grating roars whilst we witness some of the most insane guitar shredding of the day.
This is old school Deicide in all it’s raw and unpolished glory. Glen also wields the chugging bassnotes behind the pace of this track which accompanies the intricacy of the pummeling blast beats and cymbal work that strikes the ground to shake beneath you.
Whilst blistering through most of the older catalogue from the 1990’s, we’re taken through the turmoil and despair of Once Upon The Cross, Satan Spawn the Caco-Deamon and In Hell I Burn as some old school Deicide and displays that through to this day, they stay true to the rawness of their roots, swerving from mid-tempo chugs to thrashing breakdowns, with Benton’s signature snarls scattered thickly over the top.
Scars of the Crucifix channels the chaos with a blend of clear riffy blasting and well-timed melodic breaks.
The guys dont address the crowd but rather play their absolute socks off to bring more enjoyment to the experience.
A mega dose of Old School Death Metal.
Injecting some deathcore into the day, Tennessee’s leviathan, Whitechapel took to the Dio stage with low frequency tech chords before Phil Bozeman unleashes a snarling “THE MOUTH OF HELL IS OPEN WIDE” and suddenly we’re launched straight into a djent fuelled filthy combo of riffs and beats.
Let Me Burn serves as the intro to the set with chonky riffs and beatdown’s aplenty that get the pit opened all the way up before the melodics of Ben Savage and Alex Wade’s stunning guitar riffs collide.
The energy is pure feral during the opening track with threatening breakdowns and a brutal aural assault of vocals.
Black Bear shows a glimmer of the ambient side of Whitechapel in places with a winding atmospheric opening before launching into a crushing catchy tirade of riffs and Brandon Zachy’s stunning kitwork of combined blast beats and tempo changing djent directions in places. Phil’s vocals work a range of high guttural squeals to low trembling growls amongst the beautiful riffs.
How many OG’s we got in the crowd tonight? You guys wanna hear some old sh*t or what?”
And out comes Prosthetic Fluid Asphyxiation – a banger from the very first album.
Gabe Crisp’s bass here is chunky and full of all the pace movements that set this track. It’s meaty and riff fuelled with some blast beats that you cant keep up with without having your head imploded. The crowd is nuts to this one with the pit going mental straight before the chunky breakdowns wreck the place.
However, none more so than I, Dementia which set the place into a frenzied pile of bodies flying everywhere with a huge energy of djent tech riffs and maddening momentum. The whole of the bottom half of the field handbagning frantically, the dangerous riffs injecting into winding melodics created an ambience amongst the heaviness that tinkers between Deathcore and Djent and makes for one of the best songs of the set.
Nipping to the New Blood Stage, what I refer to lovingly as “Derby’s Supergroup” Lost To Light were in full swing and though I’ve discussed this with the guys, they have so many beautiful mish mashes of genres going on in their music.
Metalcore meets tech metal creates the clean, light and beautiful elements to these guys to their equally heavy, darkened side.
Catharsis runs through the sound for these guys and I get lost totally in new track Conceal with their engulfing energy seeping from the stage, you cant help but feel this with your whole heart.
With gentle tech infused notes running through the riffs and gentle double pedals between bridges before everything crashes effortlessly together to create that heart wrenching mood of the track.
Both vocalists work so well together with that balance of light and dark and Narcissist is a killer example of this.
Both guitarists also bring their own stamp on the core styles that emit through the Lost To Light moods with tech fuelled heaviness and stunning ambiences.
Bassnotes are chunky and chuggy here and provide the backbone to the absolutely face melting tempo change of the drums that shake the ground beneath you.
I am proper hyped to see where else these guys will go!!
Providing the only 2024 UK appearance, UK’s most beloved hardcore heavyweights from Yorkshire, Malevolence appear as the main stage support this year at Bloodstock.
Flying 3000 miles from their current tour in the USA to play and then to return to carry on, these guys completely pour everything into what they do.
A band that, through some of their songs, I have a deep connection to, I was so elated to see that they landed that slot as vocalist Alex Taylor tells the crowd “This is our third time playing Bloodstock and we’re back on a big boy support slot.
This is due to each and every one of your support!”
Self Supremency starts with an intense tone that matches the atmosphere of the crowd as the anticipation is kicked off with winding riffs that fuel the crowds ferocity during one of the biggest circle turned mosh pits that the main stage has seen in recent years.
Watching so many people move in once place was a sight to behold – and if people fell, they were picked up.
Josh Baines and Konan Hall lead the dangerous tone in riffs overlapping eachother with technical edges and rhythm sections that launch the mood into realms of aggression and passion.
The solo is stunning yet still keeping the intensity to the track whilst Charlie Thorpe wields the kit in some utterly mind blowing breakdowns and blast beats to entwine elements of hardcore and tech fuelled notes, delivering an exceptional energy to the crowd.
Harbouring a stark contrast, one of my favourite performances of any Malevolence show shows how so deeply in tune with the emotions of their music that they are.
Getting gently lulled into Higher Place is without a doubt, an experience I never let go of.
The melancholic and beautiful voice of Konan drifts into the crowd, his guitaring is melodic and gentle, matching the intensity of emotion coming from Josh Baines vocal range to create such a beautiful, cathartic heart shattering mood.
This track gives me chills every time and in its live setting, is something you have to just absorb to feel how utterly stunning it is.
Warning track Keep Your Distance kicks the pit back into play and here shines the intricate bassnotes of Wilkie Robinson amongst chugging backbones to the scratching riffs. Beatdown galore amongst the harsh vocals of Alex and Konan punch out the ferocious energy before final offering On Broken Glass is unleashed to send shivers down your spine.
Alex holds coloured yellow and blue smoke flares towards the rafters of the stage.
A song that sticks with me – exploring the depths of emotion coming away from a toxic situation and having some self realisation. Alex snarls out the aggression of this track whilst Konan inputs his melodic tones to balance the depth of emotion that laces through this song.
Alex commands everyone get to the floor during the intensity of the breakdown – and to see everyone jump to this track was a complete sight to behold.
My other favourite song for its energy, there’s just something about Malevolence and their way that they deliver their message.
A new album on the horizon, surely means another tour coming up! Plus 902 body surfers has to be a record, right?
Off to the Sophie Stage to catch Sylosis annihilate the place, the empty stage lights in backlit blues and casts shadows amongst the band as they take to the stage.
Josh Middleton stands amongst scratching riffs.
“Bloodstock! It’s good to be back. Let’s f*cking go!”
Launching straight into Poison for the Lost with no messing about, the blast beats coming from Ali Richardson are exceptionally tight and lace through tempo changing melodics in time with the maddening tech infused riffs of Josh and Alex Bailey.
This track is such a great one to start off with, it embodies everything about Sylosis – the brutal depth of drums that time intricately and with precision of ever changing tempos and beats that outline Conor Marshall’s chugging and frequency inducing bassnotes to deliver a catchy but face melting track that the GORGEOUS riffs that signature rawness that Sylosis encapsulate.
Josh’s vocals are visceral and go so well with the moods that the whole band emit on stage.
“Thanks for making your way over from Malevolence so quickly and packing this tent out – thank you so f*cking much.”
Chants of SY-LO-SIS fill the Sophie stage whilst a quick guitar check took place.
Launching into Pariahs, a almost djent edged hardcore offering, the pit went absolutely bananas for this.
Evil riffs married with blast beating kitwork with stunning cymbal inputs gave edges of melodics within the sheer heaviness of the track – a heavy and atmospheric air filled the place before launching into a bullet speed pace for I Sever.
Title track from the last album, A Sign Of Things To Come showed sludge induced riffs to exhibit some bludgeoning styles that Sylosis incorporate into their sound and stands to point that these guys arent just all about metalcore and melodeath genres.
Splitting the audience in half, Josh creates a wall of death by counting in for Deadwood and saw the whole place moving to some of the most killer musicianship on the Sophie Stage of that day. A worthy Sophie headliner!
Saturday’s Dio Stage headliner and it’s good to see a younger band grace a headline slot for this stage. Helping to put Metalcore well and truly on the map for the UK, Brighton’s very own Architects exhibited paving the way for younger bands that aspire to headline major festivals. I first knew of Architects back in my earlier gig going years watching these guys in local or grassroots venues before starting to tour with Bring Me The Horizon and eventually growing into the giants they are now.
A much deserved slot through all the graft and hardships that these guys have endured, its a privilege to be able to witness their growth and deliver a show as killer as this.
With darkness shrouding the Dio stage after an intro of Queen’s Dont Stop Me Now, echoes of shimmering synths rang out before silhouettes form on stage and opening launcher Seeing Red blisters through the air.
With an extra platform above the crowd on the stage, the backlit screens flared with geometrics and static patterns amongst some seriously huge energy amongst the band.
With catchy drum beats that evolve and flow through progressive metalcore edges, the energy here has set the bar so high for the rest of their set.
Sam Carter’s pipes range between clean, elating heights to trembling raws amongst the high energy of chords and drum directions.
Fueling the atmospherics for Giving Blood, a stunning visual of blue lights and glowing images on the screens doused the beautiful moods of the stage.
Sam launched into some of the most melodic screams to touch the edges of ambience that the guitars and Dan Searle’s drums create and delivers a breakdown that was a feel good, emotional mood instead of just pure filthy.
“I feels so good to be standing up here” Sam addresses the plethora of surfing bodies heading towards the barriers and the mass gathering beneath his feet.
Launching into Black Lungs with flames shooting simultaneously up to the roof, the djent style of riffs took the energy straight up there with them.
These Colours Dont Run provided a beautiful synth key intro that rippled through the blue shimmers of the stage before launching into a tirade of jawdropping filthy riffs and immaculate bass notes.
Sam announces that this is the first Saturday of Bloodstock to sell out, which quips any doubt of booking Architects as a headliner from the mixed reaction the announcement received last year.
Enticing the crowd to beat friends in Malevolence’s crowdsurfers, A New Moral Low Ground chimes out gently amongst ambient lighting that makes out the shapes of legs sticking up in the air, heading towards the barriers.
A surge of power spills out with an almighty crash of drums and synth strings that channel beautiful vocals into a sleek and melodic heavy energy.
Its a beautiful track to witness and is definitely one of Architects more sultry tracks.
“Yo, I need a number. Where are we? They’re still coming…” Sam banters with the crowd. “Omg, 2000? 2000 people, that’s nuts. Hahaha.”
He announces that they’re working on new material that is the best Architects material yet before launching into anthemic Curse.
This is a pure vocal assault from Sam that displays so many of his vocal ranges, from beautiful melodic notes through to lower tones that carry through to the gutturals and twists of shrieks that he bludgeons into the track.
“Thank you for making this one that we will remember forever. We’ve been through a lot as a band and we do not take anything for granted.
We would not be band if it wasn’t for our brother, Tom.” Launching into Doomsday, the last Architects song that late guitarist Tom Searle began writing, and also dedicating it to Josh of Sylosis, the energy here is utterly huge and absorbing. Architects’ crowd are a heartfelt community and shout the lyrics back to the stage.
Prog beats and swift riffs engulf the stage with a huge force and has the whole of Bloodstock united for a moment.
Tom spots from the stage, in the crowd someone with a stuffed goose toy.
“Can the Goose come on stage?” and holds up the Goose adorned with customisation.
“Yo, the Goose has patches!” and reads out the patches with goose themed anecdotes and quotes. Cheering it on, he throws it back to the crowd. The last time we were here, there was a video of when the bands were announced and we heard everyone cheer when we came up and it made me smile so hard.”
The stage is plunged into darkness and out of the darkness, a choral voice rings out amongst bright hues of ambience, marking the first encore Nihilist.
One of their most heaviest tracks, the final surge of Saturdays feral energy was right here. Raw, unforgiving and totally intoxicating, the pits were mental and it was hard not to headbang low to the ground.
Fan favourite Animals served as the last track and saw the anthemic vibe of Architects interact with their crowd with fun, humble and energetic moods.
That was a beautiful choice to end the Saturday of Bloodstock.
Photography by Pete Key & Artur Tarczewski for MPM
