Sad news as one of the greatest metal festivals in the world, and a favorite of Ghost Cult, Inferno Festival 2020, set to take place in Oslo, Norway has been totally canceled. The fest was to feature Kreator, Mayhem, Triumph of Death, Amorphis, Venom, Gorgoroth, Marduk, Ihsahn, Kampfar, and many more! According to a message from the festival, “all public events in Norway are banned until the end of April, and this period might be extended. The health authorities estimate 4-5 months. So, there are no chance that we can make Inferno happen this year.” See a message from the fest here: Continue reading
Inferno Metal Festival has booked its final five bands for the 20th anniversary in 2020, and they are all legends. Triumph of Death (Hellhammer/Celtic Frost band led by Tom G. Warrior), Amorphis, Asphyx, Oranssi Pazuzu, and The Great Old Ones will perform at the fest in Oslo, Norway next spring, on 9-12 of April. The full lineup and details can be found below. Continue reading
After six years at the Fredriksten Fortress in at Halden Norway, it was clear Tons of Rock needed more space. So here we are in the biggest city in Norway, Oslo, at the new home for the festival. From my American point of view, this was wonderful to see so many bands I have enjoyed but haven’t made it across the sea. With three stages and forty bands, two of the said stages named in honor of famous Norwegian expressionist artist Edvard Munch. The Scream and Vampire had an electric mix of hard and most styles of metal. In addition to the campgrounds, there was plenty of rides, painted art and music for sale to browse on these bright and sunny Oslo days. Continue reading
We are just hours away from the start of Norway’s biggest Rock and Metal Festival of the Year, Tons of Rock! Ghost Cult will be on hand to cover the sights and sounds of the fest and bring you coverage via our socials as well as a full review and photo set after the festival. Check out our preview of the can’t miss bands each day! Taking place from 27-to the 29th of June at Ekebergsletta in Oslo, Norway, the successful festival entered into a partnership earlier this year with Live Nation Norway, for this and future editions of the festival! There was a pre-party last night at the Oslo Opera House where Accept performed with a Symphony Orchestra! In addition to camping, the festival has food, its own craft Beer Tonf of Pils, a metal marketplace and much more. Continue reading
Kvlt Black And Rollers Slegest will kick off a new run of tour dates this week, supporting Vreid and Kalmah. All dates are on sale now. The band is out on the road supporting their recently released new album Introvert, via Dark Essence Records. Continue reading
Check out all of today’s new releases in the music world! Continue reading
Anyone who thinks that Black Metal is a conservative and formulaic sound need only look at (amongst the plethora of progressive and avant-garde entities) Norwegian’s Vreid and how have incorporated outside and wider aspects into their black metal fabric. Whilst that more typical black metal sound is firmly at the band’s core, their willingness to bring in the sounds of Hard Rock and sixties and seventies influence has afforded them the “Black n’ Roll” moniker and thus helps them stand out in some capacity to many of their peers. Following on in this trend, eighth album, and first on Season Of Mist, Lifehunger is not only one of their strongest to date, but possibly the easiest of their catalogue to break into. Continue reading
Estonian folk metallers Metsatoll have been added to the upcoming 70000 Tons Of Metal Cruise, setting sail in less than a months time. As of now 46 of the 60 bands have been announced for the cruise, which is sold out but has a wait list that makes it possible to get a last-minute ticket. Continue reading
After bumping into three-quarters of Undersmile who by their own admission were now “on a band outing”, it was time for tea, and also to enjoy half an hour with our “Pressed out” esteemed UK Editor. As Diego Costa massacred a defender’s facial features (odd that…) on the big screen, the magnificent Old Bar provided wondrous sustenance in the form of a chilli dog, death burger and storming IPAs for just around £15.00.
This was all damaged in time to witness one of the final showings of the majestic Altar of Plagues, a band still vital, still relevant, always adored and fully compelling. The Blackened Industrial outfit caused the first real queue into Eyesore, testament to the appeal of the Irishmen who showed with mind-blowing creativity and a little more action (plus a real drummer) what C.R.O.W.N. could have achieved. It was almost impossible to see through the – yes, you guessed it – ridiculous light display, but the drama that the Boys infused into all by the inflections of their riffs was impossible to ignore. Leaning on the cabs of the mixing desk it’s staggering to see the calm yet assured way mixers Johnny and Harry help to make this all sound so dynamic: indeed, as the impossibly youthful James Kelly issues a subtle “cheers Leeds”, you’re nevertheless almost unsure who to watch next. Especially as there were no flashing lights emanating from the lesser-known duo…the swell of the closing coda was a fitting climax to a blinding set in more ways than one.
The second journalist to take the stage today, Nick Ruskell’s Witchsorrow plied forth their Electric Wizard-esque Doom which, though musically strong and ripping through the packed room, is not augmented by Ruskell’s limited vocal and rather unimaginative stage banter [PQ].
Last year, Icelandic post-rockers Solstafir walked away with all the (non-Bolt Thrower) plaudits, with the second stage unable to contain their emotive, powerful epics, punters locked out and the room filled to bursting. Invited back to sprinkle their magic dust over the main stage, once again Aðalbjörn Tryggvason holds Leeds University effortlessly in the palm of his hands, their beautiful, lapping, and pervasive striking hymns swirling and rapturously received [ST]
Listening to Colin van Eeckhout, however, is like listening to a tormented angel. First harmonising in Benedictine style, then screaming in twisted agony. Barefoot and in shorts, he sprang as the incredible Amenra reduced the hall violently to tears in an instant; Eeckhout facing backwards, bounding and screaming maniacally whilst vast swathes of post-Black Metal crashed about him. There were few flashing lights here: just a black-and-white backdrop flickering between speeding clouds, rippling water and Flanders fields-style explosions. The drama, the mysticism, was as potent as the sparing chords shimmering from the guitars of the frankly alarming Levy Seynaeve: van Eeckhout’s head bowed, the aching wounds apparent in the ensuing screams. Halfway through ‘Nowena 9|10’, he spun and faced us ever so briefly, and the image was complete. Subsequently removing his t-shirt as he knelt toward the drums for the unnerving ‘Boden’, the tension and empathy could be touched. Shattered, spent bodies were somehow stood absorbing every last increase of sound. All bar the knelt, bowed body of the greatest living ball of intensity I’ve ever encountered.
Amenra were beyond moving and I’m unashamed to say that I was violently sobbing as I rocked back and forth with the troubling yet transcendent experience.
Robbie is in his fifties, and took his security role seriously yet with a degree of deadpan which endears him to the punter. “There’s never any bother here. Well, apart from it killing mi legs” he reflected with a cheeky yet droll sarcasm. Directing entry to both the Terrorizer and ‘Mine areas, it was an intense yet obviously enjoyable role for him.
Meanwhile, at ‘Mine, it was hard misfortune that saw arguably the UK’s best Occult Doom band slotted in between two of the best live draws in World metal, and clashing with High On Fire. As a result, the dungeon was half-full for a crushing set from The Wounded Kings. An atmospheric experimentalism married with a pulverising groove, Steve Mills’ solos were a real breath of air whilst George Birch’s oscillating vocal is almost unique, Pete Steele-like; his guitar squealing, his shapes mesmeric, the man has grown into a consummate frontman. It was great to see the two old friends duelling together in what is now a real unit, with closing track ‘The Message’ a whirling mass of pulsating noise.
Primordial at Damnation Festival 2015. Photo Credit: Rich Price
And so to the Greatest Band in the World™. Certainly, surely, the greatest frontman. It’s staggering that there’s room at all to get in to see Primordial, but thank the Heavy Metal Gods that there were a few slivers for a chubby dude to slip in to. “We meet again!” hollers Nemtheanga after a rapturously received ‘Where Greater Men Have Fallen’, and once more a rapt throng is in the palm of his hand – if there was ever any doubt. ‘Babel’s Tower’ saw a worshipping collective almost motionless as they dropped on every word, every dramatic itonation, every plaintive act of defiance, every indelible scream. “Everywhere I look I see old friends” uttered a typically effusive Alan Averill, subsequently leading the audience participation of ‘As Rome Burns’, a powerhouse which grabbed all in roared intonations. The euphoric yet moving ‘Wield Lightning to Split the Sun’ had Averill beckoning and clawing his belly with wrought passion, asking the usual question: “Are You With Us?!”
As ever, as One, we were.
As is always the case, the closing band on the ‘Mine stage was half-attended. As always it was a big miss for the ovine hordes. Tonight 40 Watt Sun were minimalist, light yet crushing, and utterly heartbreaking. This band transcends Doom heaviness, Post musicality, Shoegaze emotion, and Folk personification, to create a chilled yet pained entity which simultaneously relaxed and tweaked every synapse and demanded to be heard and enjoyed. Patrick Walker delicately strummed his guitar, whilst his edgy Folk voice shattered the soul with its poignancy. And still, people didn’t shut the fuck up. The delight is that new songs were being played, the second of which – if Walker’s hushed whisper is to be correctly interpreted – was called ‘Beyond You’. It’s arguable whether such pared-back, Funereal balladry belongs at such an event, but not for the lachrymose souls like myself and what seems like most of the Belgian contingent, one of whom tells me to ‘Ssh’ quite vehemently as I’m instructing a fellow watcher to do the same; go figure… ‘Carry Me Home’ was received like a long lost friend and intoned lovingly and emotionally; there was a growing fear that the early finish was permanent before the trio returned to deliver a hackle-raising ‘Restless’ which, in true ’Queen in Rio’ fashion, was sung emotionally and lustily to Walker for the most poignant, tear-inducing end to a night I’ve ever been a part of [PQ].
The reason for the thinner crowd than deserved for 40 Watt Sun? A triumphant conquering from Swedish legends, and festival headliners, At The Gates; a barnstorming non-stop roil of jagged riffs and powerhouse anthems spilling forth in a slew of genuine metal classics. Liberally sprinkling the set with visits to last years At War With Reality (Century Media) showed the newest addition to their canon more than holds its own in the presence of greatness.
And if you wanted extreme metal greatness, you got it. ‘Death And The Labyrinth’ begat ‘Slaughter Of The Soul’ running headlong into ‘Cold’ in a set opening par excellence and par violence, matched only when ‘Under A Serpent Sun’ vomited into ‘Windows’ into a vitriolic ‘Suicide Nation’. Elsewhere ‘Nausea’ brought the sickness, and ‘The Book Of Sand’, amongst others, crushed as ATG delivered their strongest live performance on these sceptre isles since reforming.
As the beers (by now the in-venue piss of Red Stripe) flowed as quickly as the riffs, an encore of ‘Blinded By Fear’ and an unbelievably scything ‘Kingdom “Fucking” Gone’ devastated, before the fuck you of ‘The Night Eternal’ sent the throng home sated in HEAVY metal brilliance. [ST]
Damnation is always one big rush: for fan, organiser, band member, reviewer, and every one of those wonderful unsung heroes that help to run the day. That situation is made worthy by the realisation of the anticipation: all of the friendships forged throughout the day; the fan rubbing shoulders and glasses with the performer; the scribe meeting old friends in the form of fellow scribes, interviewees and Legends. For all of the magical days on a Metal fan’s calendar, there aren’t many to compare with the sheer enjoyment and camaraderie of this first Saturday in November. Amenra didn’t so much steal this one as clutch it to their fractured breasts for all eternity, but there were many more acts making this one so special. This has to be the greatest value-for-money exercise around right now, and the small but heroically dedicated band of organisers has left itself one massive, collective headache to work out how to match this for next year [PQ].
WORDS BY PAUL QUINN
PHOTOGRAPHY BY RICH PRICE