Bloodstock 2024: Saturday Review

Bloodstock 2024: Saturday Review
Words: Dan Barnes, Tim Finch, Matt Noble, Cat Finch
Photos: Tim Finch

There’re a few early spots of rain in the air as Saturday see Catton Park become Jurassic Park. For it is Dinosaur Day at Bloodstock 2024 and the field is spotted with many a T-Rex, stegosaur, triceratops and even a pterodactyl can be seen perching from an advantageous viewing point. I’m not sure your qualified Palaeologist would agree with the accuracy of some of the recreations of our reptilian forebears, but it’s sort of fun to see blokes with wizardly beards appearing to sit astride a velociraptor while watching Deathcore. Even funnier when they start crowd surfing.

First up on the Ronnie James Dio is London Satanic black metal outfit, Deitus, who arrive on stage looking as though they’ve taken a short cut through a local abattoir. Militaristic drums create a Watain-like atmosphere, and the steely gaze of vocalist, A.G., as he scans the crowd for lost souls is terrifying. Incursion and Straight for Your Throat open the show, both taken from the Irreversible record and both harbouring a darkness in every note. Lightbearer increases the tempo and pulls us even deeper into the Pit and, while Deitus aren’t the most evil band you’ll hear, they can certainly disturb a few demons with their blasphemous cacophony. Ending with a cover of GG Allin’s Bite it You Scum is probably the most diabolic thing any band could do.

Photo Credit: Tim Finch Photography

From Ukraine come Ignea, a melodic death metal band who mix up the genres to keep their show fresh and exciting. They’re of the old-school Bloodstock fodder, blending symphonic and progressive elements, with a flavour of music from further east. Introduction Dunes has something of a middle eastern ambience, while the likes of Camera Obscura and Daleki Obriyi, all from the band’s most recent record, Dreams of Lands Unseen, fill the need for epic bombast. Theirs is a distinctly European sound and frontwoman, Helle reveals this is Ignea’s first UK festival appearance. The inclusion of such disparate elements as soaring keyboards and death growls finds the band ticking boxes with many of the crowd.

The Bloodstock booking agent must have chartered a flight from São Paulo as, alongside Nervosa yesterday, we get fellow Brazilians Crypta. And like Nervosa, the thrust of their musical attack is born from the work of Sepultura, but with more emphasis on the death metal side of their output. Formed in 2019, the four ladies have a couple of albums under their belt but chose to focus on last year’s Shades of Sorrow disc for the bulk of this set. Only closer, From the Ashes comes from the Echoes of the Soul debut, otherwise it’s a battery of solid double-bass drums and chugging guitars, leading to the first surfers heading up and over.

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Photo Credit: Tim Finch Photography

Perhaps not the biggest name to come out of the Bay Area Thrash scene of the Eighties, but there’s no denying Forbidden’s impact on the breadth of the genre. As lauded as any of the big four, what self-respecting thrash metal collection doesn’t have a copy of Forbidden Evil or Twisted Into Form? You could argue that without Russ Anderson on vocals it loses something, but the recruitment of Norman Skinner on the mic, and one-time Machine Head, Testament, Exodus, etc drummer, Chris, behind the kit, allows founder members Craig and Matt to do their thing with confidence. Also, that’s Voivod’s Chewie on second guitar, adding to the parade of Thrash Royalty.

Focusing exclusively on those two classic records, Forbidden start with the one-two of Infinite and Out of Body (Out of Mind) and start tickling those parts only those of a certain age can remember. Forbidden Evil is greeted like the standard bearer it is, as is a sublime Twisted Into Form; full of nostalgic riffs and grinding guitars. Marching into Fire finds Norman screeching those high notes, Step by Step is the real thrash deal, and Through Eyes of Glass furious delivery brings the set to a close far too soon. I’ll be off to the one-off show at Rebellion in Manchester on Thursday night, so will get a second helping of this Forbidden loveliness.

You rarely think of Canada as being a hot bed of Power Metal, but Unleash the Archers is at Bloodstock to dispel the myth that the Great White North is Nickelback country. Formed in 2007 with half-a-dozen albums behind them, Brittney and co arrive at Catton Park after what feels like a number of unsuccessful attempts. Opening with Abyss from the album of the same name, Unleash the Archers lay their stall out from the get-go. It’s big, it’s widescreen, and it’s the sound of Bloodstock’s past.

Concentrating on their later albums, they spread the love across Apex and this year’s Phantoma, with only set closer, Tonight We Ride, coming from pre-2017. Considering who they were sharing the stage with today, UtA certainly hold their own.

Photo Credit: Tim Finch Photography

Finally making to Catton Park after the cancelled show in 2012, everyone’s favourite lunatic of God’s creation, Mr Glen Benton and his anti-religion cohort Deicide, step foot on the Ronnie James Dio stage to deliver more blasphemy than most corpse-painted black metal bands manage in an entire career. Even though this year’s Banished by Sin album is a decent collection of tunes, Glen and long-time drummer and co-conspirator, Steve Ashiem, look to the glory days of the first three records.

When Satan Rules His World, Carnage in the Temple of the Damned and Behead the Prophet (No Lord Shall Live) – from Once Upon the Cross, Deicide and Legion respectively – opens the set. Whomever is occupying the guitar slots for the band has the licence to create the howling screams of lost souls from their instruments. Kevin Quirion has been with the band on and off since 2008, and his partner in crime, Taylor Norberg, has but a couple of years behind him.

Benton’s barks are as easily identifiable as John Tardy’s squeals and blasphemes his way through Satan Spawn, the Caco-Daemon, They Are the Children of the Underworld and the instantly recognisable intro to Scars of the Crucifix. Dead by Dawn and Homage for Satan close the show, but they must have been a record for most surfers at a Deicide festival show equalled or beaten today. They might have been twelve years later but, for me at least, Deicide were well worth the patience.

I imagine some of the more-staunch Bloodstock Traditionalists might have baulked at the prospect of Saturday’s top three main stage bands. But if the festival is to survive and move forward, then constant change and evolution is needed. Having missed out the opportunity to headline the S.O.P.H.I.E. stage last year, Knoxville, Tn, Deathcore kings Whitechapel return for a third appearance at the festival with a higher billing and a point to prove.

Starting with the relatively sedate Let Me Burn, it doesn’t take long before the frenzy of Forgiveness is Weakness begins to open the floodgates for more crowd surfers. From where I’m standing, I’m seeing hordes of smiling faces being plucked from the roof of the melee at the front of the stage, given water and going round to do it all again.

We Are One follows the calls for a circle pit and it’s clear that such encouragement is not needed as Bloodstock is rotating like a spinning top. The original members of Bozeman / Savage / Wade / Crisp have been the heart of Whitechapel since 2006 and their innate ability to lock into each other is close to psychic. Early tunes like Ear to Ear and Prostatic Fluid Asphyxiation from the debut, and I, Demetia still carry with them the fire they had at the time of their creation.

Each of the band’s tunes sound like a carefully controlled detonation, leading to the climax of Our Endless War and The Saw is the Law. I’ve grown to enjoy a bit of Deathcore over the years, with Whitechapel and Despised Icon being top of my genre go-to list. This is why.

Photo Credit: Tim Finch Photography

Chatting with the lads and lasses on main stage security throughout the weekend, I was told a number of times they were hyper-focused on the Saturday special guest slot, and Malevolence. For no other reason than frontman Alex Taylor used to work as part of the security detail and had previously been employed at this very show. If the band’s prior appearances at Catton Park were anything to go by then carnage was bound to ensue, but the staff were primed and ready to ensure a good – and safe – time was had by all.

Malicious Intent – from the album of the same name – fires the starting pistol, instantly forming a circle pit that would, at one point, reach all the way around the sound tower and disabled viewing platform. With a sound not far removed from Hatebreed, Terror or Madball, but with sludgy undertones, Malevolence are always exceptional value for money at a festival. Having seen them here, Slam Dunk, Download and a surprise visit to Outbreak, the Sheffield wrecking crew never do things by halves and have flown three-thousand miles to play this show.

Newer tunes, Life Sentence and Still Waters Run Deep, as well as Waste of Myself, the down and dirty contribution to last year’s Aggression Sessions split with Fit For an Autopsy and Thy Art is Murder, come and go, before Malevolence head back into their deeper past.

Remain Unbeaten, Slaves to Satisfaction and Serpent’s Chokehold, although older, show the more oozing side of the early band, with the latter being dedicated to the long-time fans.

It’s like the End of Days by the time Self Supremacy is in full flow. Surfers pile over and, as the cameras swept above the front of the crowd, they display the images of bodies entwined. It’s like a scene from World War Z – or Caligula – whichever you prefer. Higher Place is slow and almost acoustic, replacing The Other Side as the track that gives Konan Hall a chance to take lead vocal.

There’s promise of a new album arriving soon and the band close this most energetic of special guest slots with On Broken Glass, get damn near the whole of the crowd to jump-da-fuck-up, all while setting the record for the most people over the barrier with a total of 901. One more song and it’s general accepted they would have broken four-figures. That’ll be something to aim for when they headline here in a few years’ time.

Photo Credit: Tim Finch Photography

If having twenty-years behind you as a globally successful band doesn’t give you the status to headline Bloodstock, then there’s no hope for anyone. Possibly not everyone’s cup of tea – but neither were Europe in 2009, or Parkway Drive a decade later – Brighton’s Architects have earned their right to play top gun at Catton Park though constant touring, sharing stages with some of the world’s biggest band and by producing ten solid albums. Metalcore at Bloodstock? It’s part of the evolution.

Using Queen’s Don’t Stop Me Now as their intro tape, Architects boldly begin with new-song Seeing Red, filling their stage with flames and the front of house with a torrent of red confetti. From where I’m standing you can hardly hear Sam Carter’s voice for the crowd singing back to the stage.

Giving Blood, deep fake and Impermanence keeps the energy high and for those who thought Malevolence would have the final word of Bloodstock’s middle day, are forced to rethink their position.

The band don’t stray too far for too long from 2021’s For Those That Wish to Exist record, during the set’s early part. These Colours Don’t Run is not a Maiden cover, rather a furious original as featured on the Daybreaker record; the ethereal opening moments of Hereafter give way to a storming metalcore anthem, while the clocks get set back a decade for the multi-faceted Gravedigger.

By the time set closer when we were young comes around, I’d like to think that, regardless of the pyrotechnics, or the eye-popping video screens, Architects had musically proved themselves to all

but the most resolute naysayers as to their suitability as headliners. Encores of the Nihilist – from the equally nihilistically titled All of Our Gods Have Abandoned Us - and show closer Animals, leave the faithful sated and, hopefully, attracted a few new fans along the way.

Photo Credit: Tim Finch Photography

The first band on the S.O.P.H.I.E. stage for Saturday was Brummie Bruisers Cauldron, whose momentum was interrupted by a delay mid-set. Even so, they managed to kick things off in a respectably raucous fashion with their take on Hardcore-infused snarls. unpeople have a laidback vibe that sounds part Indie and part Marilyn Manson, and a world away from much of the rest of the entertainment available today. Even a couple of T-Rexes have found their way into the tent to check out what’s going on.

Finland’s Enemies Everywhere give a modern take on modern deathcore-meets melodic death metal, and New York Industrial Gothic outfit Ludovico Technique bring a contemporary flavour to the stage, through guttural vocals, combined with grand orchestration and panoramic soundscapes. Drawing influences from as diverse acts as The Sisters of Mercy and Skinny Puppy, the band were a real move away from the standard Bloodstock offering. Followed by the unique New Yorker Ludovico Technique, who you might have spotted roaming round the site all weekend in full stage gear. Its a mix of industrial and gothic metal and blended into the bands unique style and one that gets the Bloodstock faithful's blood pumping!

As was Mimi Barks, the Berlin-based musical artist who calls to mind such alternative acts as Cassyette and last year’s stage headliner, Skynyd. The Bloodstock evolution continues, and that the festival attracts the likes of Mimi et al can only ever be a positive. Hers was a performance possibly not to the liking of some here today, but one which provoked thought as to what constitutes aggressive music.

Photo Credit: Tim Finch Photography

More in keeping with Bloodstock’s more traditional ethos come pirate metallers Red Rum and their salty yarns of sea-faring adventures is manna to the Jolly Roger-bearing landlubbers of Catton Park. Taking their cues from the likes of Alestorm and Swashbuckle, the former S.O.P.H.I.E. headliners rouse their mid-afternoon crew with jigs and calls for rum. It’s patently ridiculous but is lapped up by the masses.

Northern hellraisers Asomvel shake the blood of the Sophie Stage on Saturday afternoon, with a set of raucous, in-your-face rock and roll that unashamedly wears its 70s metal influences on its sleeves. Playing plenty of songs from this year's 'Born To Rock N Roll' album, their infectious stage energy and the pure power they exude shows that they were indeed born to do just that. Having employed a clever, active social media presence over the last year to grow their name, today's busy tent shows that this has clearly paid off. The anthemic, sing-along nature to their songs translates well over to the audience, plenty having their fists in the air, shouting the lyrics back at the band. Whether taking on the spirit of excessive volume ('Louder and Louder'), showing an emotive sense of defiance ('Stare At Death And Spit') or thrashing away at full power ('The Nightmare Ain't Over') they really seem to strike a chord with the crowd, who all look completely thrilled and wanting more as the performance comes to an end.

Making a return to Bloodstock after their highly successful 2018 show, industrial powerhouse, Combichrist continue the machine-like feel of the day with a set full of EBM style beats and screaming electric guitars. Feeling less sterile than on record, conceptualist Andy LaPlegua leads the band through a set lifted entirely from this year’s CMBCRST record. Playing it in sequence would be too predictable and the album too lengthy, so it’s a jump through the considered highlights.

Planet Doom begins with a piano line, before dropping a big industrial beat; Wolves Eating Wolves slows things down, despite including some vicious string bends; Children of Violence feels it would be more at home at Creamfields, yet the dystopic vision offered by Combichrist is pure metal. Sonic Witch, Violence Solves Everything Part II (The End of the Dream) and the closing D For Demonic take us through some nihilistic wasteland, where the machines have taken over and we are enslaved by our own creation. Check out social media, or anything at all on the interwebs for more information about this potentially apocalyptic possibility.

Photo Credit: Tim Finch Photography

Kudos to Sylosis for forging on in the face of technical difficulties. But a couple of songs in and Josh Middleton’s guitar is lost from the mix, with the crew feverishly trying to bring it back online, to no avail. Rather than spitting the proverbial dummy out, Josh and the band soldier on and serve up one of the most heroic sets Bloodstock has seen since Alan of Primordial blew out his voice in 2011.

The nature and complexities of Sylosis’ songs mean they are dense and involve guitars playing off each other and, with a chunk of the show being drawn from the band’s most recent record, the hopefully-not prophetic A Sign of Things to Come, there’s some fast reorganising needing to be done.

Rhythm player Alex Bailey steps up to the plate and does a sterling job making us forget that Josh is musically out of the picture as they play through a career-spanning set, from Stained Humanity and The Blackest Skyline to new material Deadwood, Pariahs and the reasonably intact Poison for the Lost. Here’s hoping the band will be given the opportunity to return soon as, even though this was a consummate show, we all know Sylosis will absolutely kill it next time around.

Photo Credit: Tim Finch Photography

Korpiklaani have been regular visitors to Catton Park since 2007 and, along with fellow Finns Ensiferum, pretty much represent Bloodstock’s fascination with – and love of – all things Folk Metal. The band now have twelve full length albums but – and no offence to the band being meant – I’d guess most of the crowd are three-sheets to the wind and just want to dance to Korpiklaani’s undoubtably catchy tunes.

Happy Little Boozer could be a high percentage of the tent right now; the Boney M cover shouldn’t work but does, and the closing encore of Beer Beer and Vodka sends campers back to their tents to bin-joust or to carry on topping those alcohol levels to the maximum. Always good fun and always ready to send the revellers out into the night looking for beer (or vodka) fuelled mischief.

As for me… well, my handwriting is bad enough without ale to further obscure it. It would give the Bletchley Park codebreakers something of a headache. Maybe I should have a go at deciphering the Voynich Manuscript? It can’t be any more illegible than some of the things I’ve written down.

Representing the UK capital on the New Blood Stage this afternoon, Them Bloody Kids bring the tent together with a set of uplifting, whacky alt-metal backed by a positive, unifying message. Having passed out TBK-branded lighters and bum bags to punters over the last couple of days, there was already a sense of anticipation leading up to their performance. They continue to engage Bloodstock festival goers from the stage, with fun crowd participation moments and a cover of System of a Down's 'Sugar' to get the tent bouncing. As a band, they're solid, proving with a watertight setlist, musical variety and a blistering, varied lead vocal performance that they are as musical as they are entertaining.

Meanwhile on the EMP Stage Londoners Flamebearer tear it up with more riffs than you can shake a stick at. It was a majestic half hour like the stage has never seen before!

Photo Credit: Tim Finch Photography

Photo credits: Tim Finch Photography

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