Live at Rockefeller Music Hall in Oslo, Norway on March 28th 2014
Photos by Det Skal Du Drite I
With a population of just over five million, Norway might well hold the record for number of festivals relative to inhabitants. Tonight we are celebrating not just one, but three of the hardest festivals the country have to offer, in a very special triple-kickoff. The festivals in question are the quickly approaching Inferno, the mead-chugging Karmøygeddon, and newcomer Tons Of Rock. For this occasion, three very dissimilar bands have been brought in to bring the house down. In fact, the line-up is so diverse that it seems to have adversely affected ticket-sales, with a rather sparse crowd scattered in front of the sizable Rockefeller-stage.
The Kolbotn-trio (plus session guitarist) Nekromantheon are veterans of the Norwegian scene, and are met with frantic response. Through extensive domestic touring, and with their exceptionally well-received sophomore effort Rise, Vulcan Spectre even picking up some mainstream awards, they have attained quite a following. Their set consists mostly of numbers from the aforementioned album, playing thrash the old school way. Driven by badass riffs and the dual vocals of bassist Sindre and guitarist Arild, who both also play in death metal prodigies Obliteration, they soon have the crowd thrashing along.
Nekromantheon
Donning bullet belts, spikes, and denim, Nekromantheon are going a well-traversed road, but with a confident stride. Ripping through their set with raw ferocity, they proceed to lay waste to Rockefeller. The solos are somewhat muddled and suffocated by the densely pounding drums, but fortunately the riffs fare better in the mix. Complemented with slabs of blackened grime, comparisons to countrymen Aura Noir feels apt. As their rather short set draws to an end, the band dedicates the clobbering “Twelve Depths Of Hades” to In Solitude, declaring the Swedes “the best band in heavy metal today”. Big words about a band that aren’t even tonight’s headliners.
Nekromantheon
The boozed up atmosphere shifts as we wait for In Solitude to appear from the darkness. Candles and incense is lit, while a freaky pop ditty plays in the background. As the Åhman brothers and their cohorts take the stage with the heavy metal-cum-post-punk slice “Death Knows Where”, they immediately flex their considerable showmanship. Dancing around with the microphone like a man possessed, frontman Pelle looks like a big-shot rock star on a medium-sized stage. With a set that covers half of last year’s brilliant Sister, the band has definitely come a long way from the fresh-faced Mercyful Fate-worshipers of their 2008 debut.
In Solitude
Delivering a string of excellent numbers, perhaps reaching its pinnacle with the infectious earworm “To Her Darkness”, this feels like a headlining show. The illusion is only broken by the still lackluster attendance, with most of the spectators loosely spread around the sizable venue. Those who are present are treated to a solid performance, complete with crowd interaction and a possibly rather inebriated singer sprawled across the floor while singing his heart out. As the somewhat unorthodox Swedish ensemble departs, it feels like a profound hunger has been sated.
In Solitude
At this point it feels like the headliner just wrapped up the entire show, and it’s time to go home. The leather-clad crowd is mostly leaving the venue, heading to the closest pub for an afterparty hosted by Nekromantheon. Bizarrely, the audience is now largely replaced with a less orthodox metal crowd, long hair replaced by thick-rimmed glasses. The Norwegian ensemble Shining started out as an experimental jazz-project, but over the years they have evolved into increasingly metallic directions. Taking a definite step into the metal world with 2010’s Blackjazz, they have also worked with the ever-innovative metal institution Enslaved. With their self-ascribed brand of blackjazz, they have found their way into metal festivals and related shows, as a multifaceted avant-garde ensemble.
Shining
Led by the charismatic saxophonist/guitarist/vocalist Jørgen Munkeby, Shining appear as black silhouettes against a bright orange backdrop. The clean-cut band-members, all dressed in charcoal suits, are quite a contrast to the rock star aesthetics of In Solitude. Many words have been written about their music elsewhere, as they dabble in metal, prog, and industrial leanings. If I had to describe a Shining-performance in one word, intense would hardly suffice. The constant epilepsy-inducing barrage of lights and cacophony of noise is only broken up by the occasional breakdown, and some strangely placed sax-interludes. All of this is carried on the back of Munkeby, who proves a remarkable frontman against the chaotic musical backdrop.
Shining
Although my personal preferences leaves me rather numb and dumbfounded by Shining’s blackjazz assault, their performance is spotless. With that in mind, it seems strange that even the tiny crowd that arrived after In Solitude is now dwindling. As one fan awkwardly attempts a one-man moshpit, it sinks in just how misjudged tonight’s booking has been. When the band announces that they are playing the Tons Of Rock festival, the response feels lukewarm, and the stand where festival merchandise and weekend passes are sold seems awkwardly deserted.
Shining
Hopefully lessons have been learned from tonight’s disappointing attendance, and the result will be more coherent bookings in the future. It looks like all three bands tonight could have pulled a decent crowd at a smaller venue, but put together it becomes an unfortunately disjointed affair. In conclusion, tonight we’ve been treated to three good performances from remarkably divergent bands, all interesting in their own way. With that in mind, we soldier on to the aforementioned afterparty!
