It’s the third and final day of Bloodstock 2015, and a couple of days partying is definitely starting to show on some of the weary faces that have made it out to the field early doors. Nothing that some more top metal and some beers won’t sort out though, right?
It may still only be stupid o’clock, but there’s still a fair size size mob out to witness Agalloch [7] open up proceedings for the day with their unique take on dark, folk flavoured progressive metal. Wolf [6] certainly do enough with their honest to goodness metal to get the odd fist pumping and lift the flagging energy levels somewhat, and you just cannot argue with the quality that the Swedes display. In the end it’s all just a bit too meat and potatoes to really excite though.
Orange Goblin. Pic: Kevin Nixon
Hitting the stage to an intro of AC/DC classic It’s A long Way To The Top couldn’t be more apt for metallic rockers Orange Goblin [8]. Having more than earned their stripes out on the road for a good 20 years now, the four piece have been seeing the attention that they deserve in more recent times. It’s not surprising then that it’s a sea of people that man-mountain Ben Ward has raising beers and going suitably bonkers as he leads a storming charge through the likes of Sabbath Hex and Quincy The Pigboy. Orange fuckin’ Goblin, baby indeed!
Pro-Pain. Pic: Kevin Nixon
On the other hand, New York hardcore crew Pro-Pain [6] seem a little flat in comparison. Sure, the chugging beatdowns of The Shape Of Things To Come and Voice Of Rebellion certainly does enough to get the odd punter bouncing, but in the end this set just never really seems to ignite.
Ensiferum. Pic: Kevin Nixon
The sun is still blazing and the beer is flowing very, very nicely as Finnish folk metallers Ensiferum [7] take to the stage. It’s drinking horns held aloft all over as galloping folk metal tales of victorious battles in icy northern wastelands such as Axe Of Judgement and Heathen Horde prove to be a rousing way to see in the early evening.
It’s a shame, that the imminent arrival of Cannibal Corpse on the main stage means that it’s a fairly sparse turnout for Destrage [8], because the Italians’ hyperactive brand of metal really deserves to be seen by more. Those that have ventured over to the Sophie Lancaster stage however are treated to a superbly energetic display of inventive, technically flourished music that hits home with both bouncing aggression and melodic moments.
Cannibal Corpse. Pic: Kevin Nixon
With some 30 years on the road under their belts, New York death metal legends Cannibal Corpse [7] are as reliable as they come in the live environment – and so it proves again as they put on no nonsense display of precision brutality. The pounding Evisceration Plague and Disposal Of The Body both sound huge, as does Kill Or Become and Make Them Suffer as a continuous wave of bodies go flying over the barrier, but unsurprisingly it’s perennial closer Hammer Smashed Face that really sets everyone into a frenzy.
As the sound of another guitar solo from Zakk Wylde drifts through the air from the mainstage, those people in the know have gathered to witness the bonkers genius of French mob Trepalium [9]. Technical, groove-laden death metal via the sleazy back streets of New Orleans and a voodoo priest, it’s as infectiously wonderful as it is groovy and head-snappingly aggressive. This five-piece proves the future of forward-thinking metal is in very safe hands – and thank the Loa for them!
Rob Zombie. Pic: Kevin Nixon
It’s not quite the full-on stage production full of video screens and dancing robots that we’ve seen before, and there’s a total absence of any pyro, but Rob Zombie [8] still proves to be every bit a headline act tonight as Teenage Nosferatu Pussy, Superbeast and a short cover of James Brown classic Get Up (I feel like being a) Sex Machine get things off to a stomping start. A drum solo kills the pace somewhat part way in, but even this is forgiven when followed by More Human Than Human and a rare outing of Demon Speeding. Zombie is on top form as he struts and grooves in front of a backdrop of classic horror monsters during Meet The Creeper and a cover of Blitzkrieg Bop proves to be every bit the party moment, before everyone goes suitably (vampire) bat shit for a huge closer of Dragula.
Festival closers Godflesh [8] could not be a bigger contrast to the flash and pomp of Rob Zombie before them. With just G.C. Green, Justin Broadrick and a drum machine on stage, it’s about as minimalist as it comes, yet it’s no less impressive for it. Indeed, as the industrial legends crush their way into the small hours, it proves that sometimes less can definitely be more.
