Review by Gary Spiller for MPM
The time-honoured adage “All good things must come to an end” never rings truer this morning. After three days of maelstromic metal mayhem at Rockharz we have awoken, somewhat blearily eyed, on the fourth and final morning.
Once again ol’ Beelzebub has failed in his constructive efforts in the race with the morning’s cockerel. His nightly battle will continue, no doubt, until the curtain rises on next year’s edition here at Ballenstedt Airfield.
For an overwhelming percentage of the 21st century Nickelback have been pondering upon those five words “Are we having fun yet?”; evidently, they’ve not been to this festival. The sea of smiling faces full of love and, of course, beer and metal is a constant. Over the course of the previous three days, we’ve been royally treated to performances from 43 bands split across the two well-appointed and managed Rockharz stages.
If somehow anyone has had their fill, then a loosening of belts is thoroughly recommended. As, today, a further 16 hard-rocking outfits beckon with the mammoth legends that are Lordi and Judas Priest sit atop the billing’s summit. As we filter through the gates onto the arena little do we realise that meteorological events will have an adverse effect in a few hours’ time.
A slender finger of cloud punctuates the late-morning blue skies above the Rockharz arena as homegrown melodic death metallers Parasite Inc assemble upon the Dark Stage having headed northwards, on a near five-hour trek, from their Aalen base. Drummer Benjamin Stezler raises his sticks aloft and with Kai Bigler’s whispered introductory vocals this Swabian quartet are on the offensive from the off.
Greeted by a long-way-from-home Scottish saltire, proudly draped over the barrier, afront its owners Maggie and Jo Taylor, Parasite Inc strike the initial blows with dissonant leads and sky-filling screams of opening track ‘First Born’. Craned in from 2022’s ‘Cyan Night Dreams’ – the band’s third long-player, an offering which pierced the top 20 of the German album charts – it’s an eye-catching opener that ensures attention. The reaper has swung his shining scythe.
Shifting through the gears bolt from the blue ‘Headfuck Rollercoaster’ provides, as it will prove, prophetic thunder from above. The warped melodics of ‘Sunset Overdrive’ press the accelerator even harder, demanding further from the engine room. A request more than happily despatched from all four quarters in this hookiest of thrashers.
In the wake of that pair of demons extracted from sophomore album ‘Dead and Alive’ the door is opened even further for title-track ‘Cyan Night Dreams’ to screech through. It’s still just in the ‘am’ and a mosh pit opens up in embryonic evolution, Bigler notices and further encourages whipping up matters.
It’s not just the frontman that gets in on the fun of crowd interaction as bassist Lucien Moseku, for the intrusively welcome ‘Once and For All’, splits the arena to unleash the controlled fury of a wall of death. The levels of crowd energy, given that it’s the fourth day, remain toweringly high. Whatever is in the beer should be attracting the attentions of NASA.
‘The Pulse of the Dead’, tracking back to debut album ‘Time Tears Down’, roars at the moon. The massed ranks clap in unison and a man-size chicken surfs the crowd; it’s all in a day’s work here at Ballenstedt. Bigler’s hushed vocals, atop a delighting electronic touch, contrast neatly in the tidal flow of ‘When All Is Said’. Nodding towards Pendulum, in parts, the closing number of ‘Cyan Night Dreams’ provides an atmospheric bone-cruncher of a set finale.
In a lot of ways our first band of the day is Rockharz encapsulated to a tee. This festival is simply the gift that just keeps on giving. Band after band, Parasite Inc included, the majority completely unknown to us have not only impressed and embraced but have well and truly succeeded in broadening our musical boundaries. It’s safe to say that we will return to the UK with a greatly deepened appreciation of all things metal.
The Rockharz hunting wolves continue to burst out of the festival’s conflagrant tornado delivering yet another twist in the course of the lineup with the pirate-folk-metal of Düsseldorfers Storm Seeker. It’s to the eternal credit of continental festivals that this enthralling genre, by and large shamefully overlooked back in the UK, is given deserved stage-time to bare its teeth.
During the course of a compelling 40 plus minutes we discover that Storm Seeker lies at a mid-point between the comical mayhem of Alestorm and the Celtic war cry of d’Artagnan. There’s room on the seven seas for one and all. It’s a set that, quite naturally, leans towards this year’s ‘Nautic Force’ with a triple broadside despatched with early-set gusto before a course is set to hardtack through their previous studio offerings.
Lanterns swing as the tolling of a ship’s bell brings the crew up on deck, even in the bright lunchtime sunshine the atmosphere ascends as the quintet strike with the shanty jig of ‘Nine Ships By Night’ following up with the speedier ‘Across The Seven Seas’, with the chopping riffs laid down by Paulie ‘Docs’ Martens and the gravelly lines offered by Timo Bornfleth rocking hard and sure.
The recently released treble is completed with ‘Heavaway’, a hearty flagon full o’ folk-metal; it’s more Alestorm than Alestorm themselves. Dare I say it, but this pirating is a serious lark. Hoisted aloft a red shark is joined, joyously, by other inflatable colleagues including a banana along with red dragons and unicorns. It’s full-on party-time as we grab the powder, guns, and rounds. Behold the roar of winds and waves.
We’re gathered into raggedy ranks, assembled as ‘Pirate Squad’. Darkened from the depths of Davy Jones’s locker and hard-edged its lyrics mock those unfortunates “We are sailing you are not” implores Timo. With spadefuls of Irish jangles, it’s onboard for a rollickingly playful ‘Naval Hitchhike’. Infectious this is and you’d have to be the most cold-hearted of landlocked landlubbers not to be swept along.
A tempest blows up in the Celtic lament of ‘Destined Course’ and its earthquake rumblings afore we receive instruction from the endless seas upon ‘How To Be A Pirate’. With the profound hurdy gurdy and recorder of Fabienne “Fabi Tunes” Kirschke to the fore ‘Row Row Row’ takes on a folky nautical life in a warped parallel to Amon Amarth’s utilitarian Viking longshipping ‘Put Your Back Into The Oar’.
Rockharz is transformed into a seething mass of movement by the jaunty ‘Drag O Below’ afore the ethereal intro of ‘The Longing’, courtesy of Fabi Tunes’s hurdy gurdy, lays the foundation for a rapid-fire cannon-roar salvo to bring down the metaphorical house. The skull and crossed-bones flies upon high; the storm that has been sought will materialise.
If there is ever a wilder swing in festival running orders, then I’ve not experienced one as feral and untamed as what is about to be encountered. Following the briny nautical jollities, we lurch heedlessly into the utterly madcap universe created by the ‘insanity’ of the six components that comprise Coppelius.
The sextet hailing from Berlin is about as far removed as one can be from realms metallic. There are precisely zero guitars or bass on offer with the formally Victorian-garbed ensemble generating their wondrous fusion from two clarinets, a cello along with a double bass and a regulation set of drums. Think 2Cellos crossed with Royal Blood and you’re getting somewhere in the region of a comparison for what unfolds.
There’s white face paint and top-hats aplenty as the six-piece emerge to thunderous ruminations. The AC/DC / Glam fusion of ‘Rainmaker’, lifted in from their seventh and most recent album ‘Abwärts’, serves as yet another prophetic hint of the weather to come.
Taking their name from one of the main characters of Ernst Hoffman’s short story ‘Der Sandmann’ the band’s sense of Steampunk theatrics and artistic presentation seem well suited. It’s fun yet owning a serious undercurrent and although some is lost upon me through language the visual aspect is strong enough alone to leave a marked impression. Vocalist Bastille Butler is ever a livewire, into the pit and then back onstage to re-arrange the furniture whilst all the while the twin clarinets (there’s a phrase I never thought likely to write) of Max Coppella and Comte Caspar writhe and entwine like a snake pit.
Like 2Cellos on performance enhancing chemicals ‘To My Creator’ is an Alice in [Metal] Wonderland creation. Galloping hookah smoking caterpillars anyone? With a clear passion for literature burning bright there’s no surprise when the band slam in a wondrously machine-gun rat-a-tat version of Maiden’s ‘Murders In The Rue Morgue’.
Looking back through their discography it would seem with Iron Maiden covers nestling upon five of their albums their lies a penchant for matters of Harris et al. Likewise there’s an angling towards System Of A Down with a heavy dark version of ‘Chop Suey!’ along with a pounding punchy ‘Radio/Video’ both receiving the Coppelius treatment all served with a huge dollop of aplomb.
It’s all rather beautifully manic and there’s even room for some industrial tonage in ‘Kryptoxenoarchäologie’ veering into Neue Deutsche Härte territory. The mad scientist within has truly cooked up a hooking potion, there is no escape though none is requested as Coppelius provide a bridge between classical and heavy metal. Yet another mind-broadening discovery worthy of much further inquest. Nice one Rockharz!
Battle horns ring out, calling to the clans, and sirens wail across the afternoon skies at Ballenstedt, heralding the arrival of German power metallers Mystic Prophecy. They don’t arrive alone however as behind the stages, to the south-west across the Harz National Park, dark black clouds are gathering, ever increasing in intensity and nearness. A stark meteorological foreboding.
With a dozen albums under their belt, since having formed in 2000, Mystic Prophecy have been booting about in one form or another for a couple of decades. Indeed, this lineup at seven years, focused upon the long-standing nucleus of founding vocalist R.D. Liapakis and guitarist Markus Pohl who joined in 2005, is the most stable of all that have preceded.
With a twin Flying-V assault, courtesy of Pohl and Evan K, MP are right into the thick of things with the metalliferous richness of the high-grade ‘Metal Division’, one of four title tracks in this afternoon’s set, setting off at a roaring pace. The horde is in fine headbanging form, clenched fists pump heavenwards.
Strident and proud ‘Burning Out’ tears through the afternoon airs with touches of Dio and Sabbath. With the running order providing many shades of metal it’s also good to return the ‘middle ground’ with some no-nonsense bulldozing. The bone-crushing of ‘Killhammer’ sprints out of the darkness wreaking destruction in readiness for the advance of ‘War Panzer’.
The band’s self-confessed penchant for laying down an old-school vibe comes right to the fore with the blistering titular track of latest album ‘Hellriot’. “Screaming for vengeance, the number of the beast” declares Liapakis reverently. The blood lusting ‘Dracula’ sears across the blackening mid-afternoon skies ahead of the darkened metal of ‘We Kill You Die’.
‘Ravenlord’, a glorious broiling broth of Saxon’s ‘Crusader’ and Ozzy’s ‘I Just Want You’, encourages the storm closer surfing in the waves afront the maelstrom. By the time set closing ‘Metal Brigade’ has marched across the arena so the rain begins to pour amidst a strengthening wind. “The hellfire in metal we made” declares the lyrics, a prequel to ‘Hellriot’ both ploughing the furrow first struck by Saxon in ‘Denim and Leather’.
Just minutes after Mystic Prophecy had taken the deserved appreciation of the Rockharzers the inevitable call, with the weather forecast proving 100%, was made by the festival organisers with an announcement of the temporary suspension of matters of a musical nature. With the first rumblings of encroaching thunder so an orderly and highly efficient evacuation of the arena was undertaken. Clear, concise instruction ensure that the safety and well-being of what amounts to the populous of a decent sized town is maintained successfully. Whilst, naturally, disappointing on all fronts from the crowd right through to the organisers via band and crew it’s
Less than an hour and a half later, shortly before 5pm, the arena re-opens, with vigour for the evening restored. Sadly, but most understandably, by that time three bands – namely Nestor, Avatarium and Draconian – have seen their sets fall to the wayside but with the stated promise of playing in 2025 as a given.
Rockharz gently steams as the thunderstorm continues to mooch off further north-eastwards leaving an ever so slight misty haze hanging in the air. Expectancy crackles as the evening sunshine pierces through. To a droned intro a sinister figure, coated head to tail in a uniform black save for a red gas mask, strides forth. His name for it is Alister Vale, immortal through deception his desire is to seek an overthrow for this curse.
The potential solution? The ancient order of fear otherwise known as Orden Ogan. This German power metal outfit go down, most aptly, an absolute storm from the moment they stride forth. Harnessing the primal forces of Carl Orff’s ‘O Fortuna’, evoking a sense of intensity, the eager assembled are whipped up with the opening harmonies delivered by guitarists Niels Löffler and Patrick Sperling.
Ahead the arrival of vocalist, and sole remaining founder member, Sebastian “Seeb” Levermann it paves a grandiose path for the symphonic climes of ‘F.E.V.E.R.’ to further thunderingly raise levels. Vale rejoins on bagpipes as the crowd, in faultless, chant. False believer, true deceiver for sure, Orden Ogan have ensured that Rockharz is reborn in fine, fine style.
The powering surge of ‘Conquest’ raises those little hairs on the back of the neck whilst simultaneously sending shivers down the spine. This is goosebump territory no doubt of it. It’s the first of a trio of tracks aired from the brand spanking new album ‘Order of Fear’ released just the previous day. With a delicious tonage in the guitaring reminiscent of Florence Black’s ‘Sun & Moon’ especially in the quieter, atmospheric segments it captivates instantly. Once again Rockharz is serving up yet another fine discovery with the spiritual uplift delivered by this effervescent quintet.
The crowd is well prepped for the lunar conflagrant nature of ‘Moon Fire’. With a Celtic touch it’s strongarm yet gentle in its grasp with daubs of Maiden’s ‘Seventh Son of a Seventh Son’ flitting in and out. Metalliferous prog at its pinnacle. With a continuance of doffing a collective cap towards the nobility of Iron Maiden ‘Come With Me To The Other Side’ can be, most deservedly, OO’s ‘Fear Of The Dark’ moment. The track’s gentle intro accelerates hard and fast stirring up a feisty furore.
The crepuscular salutations of ‘The Order of Fear’ are majestic, the twin lead six-string is opulent. Cowled and cloaked the skeletal crow swings its scythe. The way is pathed for the grandeur of ‘Gunman’ with its delicate touches of Thin Lizzy within. The bringer of salvation offers but a tombstone path as a furious solo pays homage to the likes of Malmsteen and Vai.
A most flavourful slice of melodious power metal ‘Let The Fire Rain’, living up to its opening line, is a flash of white lightening across the skies. Levermann leads the crowd in a Bruce Dickinson-like sing-along, the track’s lyrics enwrap feeling so familiar yet being so new to myself. Rockharz is loving it as the enigmatic vocalist offers a “Slainthe” at track end.
Before Orden Ogan gallop headlong into closing number ‘The Things We Believe In’ it is proven, beyond scientific analysis, that this enthusiastic crowd are really good at singing about cold beer. At the really competitive prices that the beer is sold at (this isn’t a rip-off UK festival tariff) a good number of steins have been sunk over the course of the four days.
Careering over mythical plains the cadaverous riders strive upon a purpose only the undead know of. Beneath the overcast so they issue their rallying call with lyrical imagery steamrollering. Order Ogan depart to their outro ‘Fields of Sorrow’ having firmly planted themselves firmly within the upper echelons of my favourite discoveries of the year thus far.
Following directly on from a German hard rocking outfit harnessing a Scandinavian symphonic tone we’re catapulted right into the world of Soilwork, a Swedish melodic death metal troupe engaging in Stateside nu-core elements. Hailing from Helsinborg this six-piece have, since their inception in the mid-90s, been, true to their name, been working from the ground upwards.
Opening manoeuvre ‘Stabbing The Drama’, from the 2005 release of the same name, is hard and uncompromising in its pressures. The pain in the thunder with an ebb and flow between rage and angst. Vocalist Björn Strid (also The Night Flight Orchestra) surveys the scene and enquires “Rockharz are you with me?” furthering “Get ready to circle!”
Ahead of a massive Autumn tour with In Flames and Arch Enemy this is well and truly a shaking off of the shackles of being at rest. Delivering bullets from the barrel, doom-fringed thrashers like the VTOL of ‘Valleys of Gloam’, rapid and masterful, Soilwork are right up Rockharz’s alley. Linkin Park and Rage Against The Machine are demonstrated as amongst the influences for the beating heart within.
‘Övergivenheten’, title track from their twelfth and most recent long-playing offering, ascends to delight afore the slowing down and deepening of tempo in the heavy melodies of ‘Death Diviner’. The melodiousness initially continues into ‘The Ride Majestic’ before the switch marked ‘trampling bloodthirstiness’ is flicked into the ‘on’ position.
Cruising altitude is reached in Soilwork’s signature track ‘Stålfågel’, the juxtaposition between the industriousness of steel and the freedom flight of the bird, soars in untethered glory reminiscent of Audioslave a befitting ending to a stately, compelling set.
Having caught Judas Priest in fiery action, most ably supported by the might of Saxon and Uriah Heep, back in March on the south coast of England at Bournemouth’s International Centre we precisely knew the high level of quality that in store for 25,000 metal mad Rockharzers in the coming hour and a half.
Utterly imperious and without compare Priest are rightfully riding high atop a lofty pinnacle in the wake of their 19th studio album ‘Invincible Shield’ hitting number 2 in the Official UK Album Chart – outstripping ‘British Steel’ in becoming their highest charting long-player – and it’s atop the crest of this wave that the quintet surf into Ballenstedt.
With the utmost respect to all the other bands upon the four days of Rockharz Priest’s set is the one the overwhelming majority of attendees have inked in as unmissable since the announcement of their Saturday headline slot. A band that has inspired numerous other bands throughout the course of their half century plus career they are most correctly labelled as iconic.
Although clouds surround the airfield Rockharz shines magnanimously as the sun begins to set in a blaze of reds and oranges out to the west. It makes for a striking setting as the opening chords of Sabbath’s ‘War Pigs’, Priest’s chosen call to arms, grabs the attention and ensures 100% reverence throughout. The trident, which has been waiting patiently above for several hours, lights up as the Invincible Shield Tour Anthem heralds a strident introduction.
The drums of Scott Travis – Priest’s longest serving drummer – pound and guitars roar ahead of Richie Faulkner, Andy Sneap, and legendary longest serving member bassist Ian Hill emerging. Pandemonium ensues as illustrious frontman Rob Halford takes to the stage clad in a knee-length metallised leather jacket.
The ‘terror’ of ‘Panic Attack’ is unleashed with the twinned guitars of Faulkner and Sneap setting fire to the skies. Hill’s bass pulses stoically matched by Travis’ percussive energies whilst all the while Halford energetically defies, beyond medical boundaries, his senior years.
Whilst a touch scaled back from the full touring production Priest have brought a show to Rockharz. With a familiar rasping roar the evergreen ‘You’ve Got Another Thing Coming’ – the first of four tracks from 1982’s ‘Screaming For Vengeance’ – is unshackled with full force. The cogs of industry whir in time-honoured Midlands fashion as black and white imagery flash on the video screens. I’m teleported back to my teenage years and 87’s ‘Priest…Live!’ double album, magic times.
Halford, animated as ever stalks, the boards ‘tween tracks regally waving to the gathered horde before probing “Are you ready for some that Judas Priest heavy metal?” You bet we are! Choice cut ‘Rapid Fire’ living up to the label description leaves a trail of destruction behind it as the wrecking ball continues to arc.
Afront imagery of social discontent, rioting and civil unrest the five components of Priest despatch, rolling the rapids, ‘Breaking The Law’. The synchronicity is spellbinding, creating a visual spectacle to match the audio dynamics. In the first divergence from the UK tour, we’re treated to the autobahn metal of ‘Riding On The Wind’ and the NWOBHM finery that is ‘Devil’s Child’ both numbers being craned in from ‘Screaming For Vengeance’ for the occasion.
Spots focus upon Faulkner for the searing intro of ‘Sinner’, holding, one handed, his Explorer aloft to the gods. The fires burn wildly as touch of Sabbath, in the low-end, grooves. With several months out on the road the Priest is a well-oiled machine in stupendous form. Pistons pump as, with a trademark Halford growl, ‘Turbo Lover’ pulls back the throttle untethering the feral horsepower. Giving an appreciated horned salute Halford, clutching his mic, signals his approval as Rockharz sings the title line.
With the setting sun illuminating the dusktime clouds Hill’s ever-stoical bass reverberates about the festival site and across the surrounding fields bringing in the showstopping properties of ‘Invincible Shield’. Anyone doubting Judas Priest, thinking they’re a spent force should think again! This is an outfit as relevant nowadays as they have ever been.
The mammothlike heavy metal of ‘Victim of Changes’ sees Halford salute the flamboyance of Faulkner’s conflagrant fretwork. The metal general is in genial mood leading the assembled ranks into the cavernous spaces of ‘The Green Manalishi (With The Two Prong Crown)’. Priest quake the Devil’s Wall leaving it a bit more unstable than previously in the process and handicapping Satan’s nocturnal quest that bit more.
Most appropriately Hell’s fury is vented in the banshee shriek from upon high that is ‘Painkiller’. Many thousands, like myself, are lost in an astounding moment of heavy metal ferocity as the main set is brought to a climatic ‘finale’. As the band retreat off-stage the trident lowers in readiness for their retracing of steps a couple of minutes later.
The end of the fuse wire is met upon the band’s re-emergence with the rapidly detonative ‘Electric Eye’ explodes. Its early 80s foresight of a state of surveillance is so close to the bone looking back retrospectively. With the smoking bullet ‘Hell Bent For Leather’ and Halford riding his beloved Harley the classics persist with the six, or so, minutes of ‘Living After Midnight’ bringing down the curtain upon a set of unrivalled metallic perfection. Halford concludes “Thanks Rockharz for keeping the heavy metal faith. We are Judas fucking Priest and we’ll be back!”
Finnish shock metallers Lordi, follow impressively in the wake of Judas Priest. The penultimate band of this year’s festival they are our final selection for review; following four days of scribbling and photographing we’re dead on our feet and with sincere apologies to closing band Faun a much-needed beer is calling very loudly.
Twenty minutes prior to the striking of midnight subterranean bells toll. Above on the streets creepy, hideous stone gargoyles watch from atop the castle ramparts. Mr Lordi’s band take their stage positions – first drummer Mana, raising his sticks to the crowd, ahead of keyboardist Hella and then bassist Hiisi and guitarist Kone. Lordi arrives in regal fashion, greeting the crowd “Guten abend Rockharz!”
Getting the crowd energised from the off with the triumphant ‘Dead Again Jayne’ and its supreme monster symphonic metallings Lordi and his cohorts are as mesmeric as ever. Rolling directly into the dungeon rattling ‘Get Heavy’ the still very sizeable gathering is in the palm of their hand.
Mr Lordi gets to enthusiastically demonstrate his increasing grasp of the German language. Apparently, there’s a major difference in replying with a single yes as opposed to two. The latter referring to licking of the anus according to his lordship which he prefers by his account. Who knew? Not I for sure.
‘Hug You Hardcore’ is a thumper in Marilyn Manson fashion that gets fists pumping skywards. Its infectious plague is a hooky as heck with the interchange between Lordi and guitarist Kone a touch reminiscent of Dave Lee Roth and Steve Vai. The theatrics of ‘Blood Red Sandman’ ensure contagion levels are maintained stoked to the max.
Ascendant from the underworld – “It’s from the newest album, not new anymore but the newest” informs Mr. Lordi – ‘Lucyfer Prime Evil’ follows. With a powerful AOR undertow ‘It Snows In Hell’ sees the likes of Toto and Boston squared by to the power of symphonic metal in a most intriguing melding of contrasts. Lo and Lordi, with a clawed finger, encourages the mass to respond. Indeed, they do reciprocate clapping along to guarantee their master’s delight. Ja, Ja!
Bursting into raw, revving life ‘Wake The Snake’ chases away the still chill night airs with a high-speed slithering and writhing. Hella’s hard driving synths a standout. The arockalypse is well and truly upon us with the thumping, glammish metal of ‘Who’s Your Daddy?’ building the set up neatly into its final chapters.
Hella’s strengthy punching keys are matched by her counterparts in ‘The Riff’ prior to the informative and bewitching ‘Devil Is A Loser’ ramps matters upwards further. The closing brace of ‘Would You Love A Monsterman?’ and Eurovision Song Contest winning ‘Hard Rock Hallelujah’ are guaranteed fireworks. A pyromaniac pairing that would have Kiss themselves drooling. Gloriously over the top and bombastically proud of it Lordi have produced a stunning set as only they can.
So Rockharz has reached its finale and over a beer enjoying the pagan/medieval folk metal of Faun we reflect upon four days rammed full of variety and discovery. The over-riding factor is the friendliness of everyone; the person next to you in the crowd is your next friend with a shared moment of enjoyment.
There is much to applaud and nothing to raise critical comment. Well organised there are many initiatives UK festivals can learn from. Ranging from the greener recycling efforts to a large programme of inclusivity for those less able Rockharz is a shining light. Oh, and then there’s the bands! Of the UK festivals we’ve experienced only Bloodstock comes close to the wide variance of genres on offer here. Here’s to 2025! Which, by the way, sold out in less than a fortnight!
Photography by Kelly Spiller for MPM
Reposted from September, was posted as a news story.
