BLOODSTOCK - Day One @Catton Hall 10/8/12

Sometimes you just know you will feel at home.

Walking into Catton Hall for the first time, it is clear that it is exactly the sort of place we should always have been at. Not least of the reasons why is the crowd. There is a refreshing lack of people who attend festivals but who don’t actually like music – the sort of people who you might get a V or Reading, say.

But walk into the Bloodstock arena and it’s hard to tell who is in a band and who is in the crowd, and that’s how it should be when dealing with Britain’s premier metal festival.

And that’s why Malefice immediately look perfect to kick things off. One of the very best British bands, they just continue to impress. “Delirium” and “Omega” were designed to be played at these types of events, thrash on a massive scale; they continue to deserve their success.

From thrash to power and another of RTM’s faves, Freedom Call. By rights they should be awful. They are entirely ludicrous and pompous, but they are also superb and for Germans, they keep their tongues firmly in cheeks. They are here, they say, to start the “Heavy Metal Party” and are tremendous fun.

Another of RTM’s favourites Grand Magus are up next, the Swedes a touch lower down the bill than might have been expected, but they are no less entertaining than you would have hoped. No one can argue with songs of the quality of “The Oar Strikes the Water,” “Valhalla Rising” and set closer “Hammer of the North. Perhaps a place in the upper echelons of metals elite still awaits.

Up until the moment Moonsorrow walked onstage Catton Hall had been bathed in glorious sunshine all day. Perhaps fittingly the sun goes behind a cloud in time for some Portuguese Doomy Black Metal. Despite having two superb new albums out they are the first slight let down. Perhaps they would be better in a little club, where the darker atmosphere they create might come over better, but on a festival stage in mid afternoon their songs don’t quite resonate.

Iced Earth, though were born to make a big sound. Now including former Fury UK man Luke Appleton, they seem on a mission to bring the denim quota up. Far more overtly heavy metal than Freedom Call, Iced Earth’s set is a magnificent and joyous affair. Main man Jon Schaffer grins his way through, while new singer Stu Block looks steeped in the role. They knock out the day’s first ballad “Watching Over Me” as well an astonishingly good “Anthem.” Older tracks like “Damien” and ending number “Iced Earth” also manage to sound fresh. As always Earth are a triumph.

It’s hard for Sepultura, you would guess. Once metal’s big hopes, they are now firmly in stalwart mode. Their best days are behind them perhaps but they remain a fine live draw. Frontman Derrick Green gives it everything he’s got and if you can’t enjoy songs like “Refuse/Resist” and an incendiary “Roots” then Bloodstock ain’t for you. They even fetch Ripper Owens out on “Territory” and are very good indeed.

The aforementioned Owens is here as frontman for Dio Disciples, who fittingly perhaps are on the stage named after the man who’s like they celebrate. Ronnie James Dio remains one of the iconic voices in metal, and hearing “Holy Diver” is always a thrill, but RTM opts to head to the Jagermeister stage to check Absolva. Ex Fury UK men Chris Appleton and Martin McNee’s new venture, while there is Midlands interest too as former Point Blank Fury bass man Dan Bate is in the group.

Happily despite being only five gigs old – and with Iced Earth’s Luke watching on -  Absolva might be the real deal. The addition of a second guitarist as foil to Appleton has beefed up the sound and there is an instant appeal to songs like “Code Red” and “Breathe. “ Ones to watch.

Like Moonsorrow, Alcest are another band to suffer from a festival setting. With Watain due on the main stage, the crowd in the Sophie Lancaster tent is a little more sparse than might have been expected. While “Autre Temps” might be a damn fine song on record, here it lacks spectacle.

Spectacle on the other hand, is what Watain do. Surrounded by corpse paint and flames, theirs is a set that is surprisingly good. Part gig and part Ritual it is a captivating performance of a quality that RTM didn’t expect. “Reaping Death” and “Waters Of Ain” are black metal with a modern bent and even the sceptics are won over.

All that is left is for Behemoth to close things off. And it is a task they perform with aplomb. In many ways the feelgood story of the day, just the fact that front man Nergal has beaten leukaemia to even be here is great news. That they are excellent is merely a bonus, but the from the minute they kick of with “Ov Fire And The Void” to the ending of “Lucifer” they deliever a black metal masterclass.

Beat that, day two!

TYGERS OF PAN TANG, Agincourt, Diamond Lil @Roadhouse, Birmingham 2/8/12

It’s not often that you get to see a song called “Sex Injuries” – in fact it might well be the daftest song title in history – but then, if you ever watch Diamond Lil you probably will. Stalwarts of the Brummie basement scene, Lil, you suspect might always be at that level. There’s nothing wrong with their songs, but nothing that makes you desperate to see them again.  “Bottom Of A Glass” is pretty catchy but that is about as far as it goes.

Agincourt are the second support band tonight and they are much, much better. Back in May RTM saw them support rather ludicrous power metallers Stuka Squadron and they were an entertaining and engaging affair. Tonight is no different. The song they are named after is perhaps their best, but their twin guitar onslaught is worth watching.

Time, it seems, has not been overly kind to the Tygers of Pan Tang. Formed in 1978, they were once at the forefront of the NWOBHM movement that spawned some of the greatest bands the world has seen.

However, spin forward 34 years they have reconvened with just one original member (guitarist Robb Weir) and there are barely 20 paying customers here for this gig.

Although this isn’t a reformation that has been a recent affair, indeed the line-up of the five piece has been relatively stable for the past decade (barring last years addition of former Whatever and one-time Almighty bass man Gav Gray) and they appear anxious to play us a lot of their new album “Ambush,” which is out in September. Early indications are that it is going to a pretty decent affair, certainly if CD opener “Keeping Me Alive” and “These Eyes” are anything to go by anyway.

Of course there is an extensive rummage through the back catalogue, set opener “Euthanasia,” “Live For The Day” and perhaps best known song “Spellbound” are enjoyable enough. As is “Don’t Touch Me There” – the problem is that the latter also shows the problem with the concert. Tygers front man Jacopo Meille tries to start a singalong on the chorus line, and there is no response whatsoever. He tries to get clapping started on closer “Rock N Roll Man” but that too dies out.

It's not fault of the bands – or indeed the crowd – it is merely just that evening such as this can never be fantastic, by virture of the fact the tiny audience feels uncomfortable and the band itself can’t be enjoying it too much either. And yet the guitar interplay between Weir and Dean Robertson as well as the class of the new songs, showed the band still have plenty to offer.

It’s a shame, because it had the potential to be fine evening, but ended up not being especially memorable. Pub Rock par excellence, is probably the best way of putting it – which probably isn't what the Tygers of Pan Tang  had in mind.

TONY MARTIN, Blaze Bayley @The Asylum, Birmingham 27/7/12

Blaze Bayley looks happy. Mind you, whenever Blaze is onstage he always seems pretty damn chuffed.

The music business may have done its best to keep him down but he’s here, and he’s still a professional musician – and he never stops telling you how much he is enjoying that job.

Tonight is a Blaze show with a difference though, as he is playing acoustic along with a player he introduces as Thomas Svensson.

The last time RTM saw Blaze live was just before Christmas last year, at which point he announced that he was going to stop focusing on his Iron Maiden output. It is disappointing then that tonight’s show begins with “Lord Of The Flies” and takes in three other Maiden songs – although he did at least include “Como Estais Amigo” as one.

RTM makes no secret that our favourite band is Iron Maiden (look at our backdrop for goodness sake) but Blaze’s solo stuff is so strong (notwithstanding the patchy new album “King Of Metal”) that it be lovely to see him play that exclusively.

He raids Wolfsbane for a cheery “I Like It Hot” and closes things with a sing-a-long  “Doctor Doctor,” and like always you can’t fail to like the fella and wish him all the success in the world.

From the off there is a different, less carefree vibe to Tony Martin’s set. In mitigation the show is being filmed, but RTM was a little disappointed that he was charging people to meet him after the gig (it’s the Asylum, not Wembley) and also that he chose to go through a list of rules before the gig including no cameras and phones. It seems a little over the top for what essentially was a club gig.

However, it’s a club gig that has been – says Martin – three months in the planning and represents his first ever solo gig on these shores. And one for which he has assembled a pretty stellar cast including Venom drummer Danny Needham, former Hammerfall bass man Magnus Rosen, Sabbath keyboardist Geoff Nicholls and guitarist Dario Mollo (who plays with Martin in The Cage project).

Martin promised some surprises and the opening song is certainly unexpected as the band kick off with “Liar” from the Phenomena collective that he was part of in the 1980s and followed with “The Meaning Of Evil” a song he recorded as part of Rondinelli.

But its Sabbath that Martin is most famous for fronting as he did in the late 1980s and early 1990s and most of the set is made of Sabbath songs, “Dying For Love” “Lost Forever” and “Ancient Warrior” are first up, before its back to Martin’s solo stuff for the rock n roll influenced “Sweet Elyse.”

Things rather lose momentum at this point as both Rosen and Mollo get solo spots, but when Martin does return its to play a couple of songs from The Cage albums that sound superb – “Terra Torria” – easily the heaviest song of the night is particularly impressive.

More Sabbath follows the pick of these is “Eternal Idol” (which the singer brands the “eternal idiot”) and “The Law Maker” before its encore time. “The Headless Cross” is anthemic and celebratory and things end with “The Shining.”

And yet just when you are ready to proclaim a surprisingly fine night, Martin manages to end things on a sour note. Spotting someone filming the gig on a mobile he takes it from the audience member and appears to be extremely upset, growling: “I told you not to do this.” *** before a terse “thanks, people” and he’s gone.

It was a totally unnecessary end to what was an excellent gig. Martin would do well to remember the humbleness of his support act, but he was off to a signing session he was charging £6 for, so probably didn’t care.

***He then appeared to break the phone, although RTM cannot be certain as we didn’t have a clear view – we would welcome corroboration of this.

TYLA, The Gypsy Pistoleros @Wolverhampton Slade Rooms 14/7/12

No doubt the Gypsy Pistoleros would tell you they were all about harking back to a time when music was “fun” and how they want to make people forget their troubles. You know, the same thing that all these modern bands that play sleaze rock say.

The sad fact is, though, to be brutally honest this band of Gypsies are not very good. They look the sleazy part, the singer is stick thin, the bassist has tousled his hair and the guitarist looks like Iggy Pop, but the songs are anything but. “Everybody Hates You (When You Love Rock N Roll) is bad, but things reach a truly awful low point with an execrable cover of Ricky Martin’s “Livin La Vida Loca”.  Here is fact for them, even back in the 1980s Sunset Strip heyday, for every Motley Crue there was a Tuff. And The Gypsy Pisterleros are definitely more like the latter than the former.

The artist – literally given his successful painting career – born as Timothy Taylor is here to play a hometown show. Rather annoyingly Tyla is doing so minus his Dogs D’amour and sitting on a stool. For you see, tonight is an acoustic gig.

According to the ticket he is to perform the “Graveyard of Empty Bottles” mini album (which from memory was, back in 1989, probably the first ever acoustic album RTM ever heard) but that doesn’t mean we are in for one of those formulaic Album recital shows that have become bafflingly popular, rather the album will be played during the course of the evening.

So he kicks off with “Last Bandit” and plays a set that takes in other Dogs classics like “Billy Two Rivers,” “Heroin” “Sometimes” and so on.

And its…..ok. The problem is the format, acoustic shows – and for this one Tyla has donned his suit and is joined by a another chap on guitar called Gary – are by their very nature somewhat restrictive. In fairness to Tyla, such is the lyrical content of most of them it all works as an acoustic evening better than most rock would, but you can’t help wishing for some lead guitar or drums.

“Graveyard…” is played more or less in full towards the end, as well as perhaps the highlight of the evening “Just An English Outlaw, “ before Tyla – who had been strangely quiet -  announces “I think you’ve been waiting for this one” and launches into set-closer  “Errol Flynn.” He is soon back, playing “Satellite Kid” and “Drunk Like Me” and the evening comes to a sing-a-long close.

Not going to be gig of the year by any means, acoustic shows are hard to enthuse about. That said, Tyla just about pulled off making this one entertaining.

BARONESS, Empress, Bovine @Academy 3 Birmingham 9/7/12

John Baizley seems almost apologetic. The Baroness frontman appears concerned that the sold out crowd has enjoyed itself enough as he appears onstage for the encore. “We just wanted to connect with you guys,” he says. “Thanks for coming out tonight. The least we can do is give you what we have – and what we have is two more songs.” With that he launches his band into a stunning “Jake Leg” and an instrumental “Grad.”

What they also had was the foresight to give two young, local bands the chance to show their abilities. First up are the sludgy, riff heavy Bovine, who are interesting in a type of early Queens of the Stone Age type way, while the equally youthful Empress are even more impressive.

The four piece need to work on their stage craft, perhaps but their three song set should leave no one in any doubt as to their potential. Borrowing from the likes of Between The Buried And Me theirs is an ambitious sound, and by the end of “Left In Awe” RTM is keen to see more.

Which brings us back to Baroness. Here is a band that truly defies description. Are they sludge? Are they prog? Are they metal? The truth is they are all these things and more, so how about this: They are merely one of the most innovative heavy bands around right now.

Album number three, “Yellow and Green” rather confirms this. A sprawling, 2cd epic it isn’t out until next week, but early indications are that it is a fabulous affair that won’t be far from anyone’s best of 2012 lists.

Baroness play a decent smattering from “Yellow….” Including the single “Take My Bones Away” which is right up there with the songs of the year. The band, for all their reticence, seem to know this too, attacking the song as if lives depend on it. Another new one “March To The Sea,” casually tossed out early is neatly as impressive and the slow burning “Cocainium” rather confirms the early thoughts that the record might just be very special indeed.

As was the album that preceded it, “The Blue Record.” And a good portion of the best bits of this are played. The show begins with “Ogeechee Hymnal” which turns into “A Horse Called Golgotha” just like it does on the CD, before also taking a stop at a majestic “Swollen and Halo.”

If you came to see Baroness playing superb songs almost flawlessly then you were not disappointed, but where the band did surprise was the energy they showed and how much fun they were evidently having onstage, Baizley and new bass man Matt Maggioni even telling jokes. If you thought the group would be a little over earnest or po-faced you were wrong. Baizley is clearly not the most gregarious chap, nor the most talkative, but that never did Mastodon – a band with whom Baroness have much in common – any harm.

Of course he does open up for his rather passionate speech at the start of the encore. In the 10 minutes that follow we can see everything there is to see about Baroness. The only ones, it seems, who don’t realise their effortless brilliance are the band themselves, for the previous 90 minutes they have both enthralled and entertained and yet Baizley still seeks our approval.

This show bordered on the magnificent. Just imagine how good Baroness could be if only they understood how good they are.

DIAMOND HEAD, Stampede @Slade Rooms. Wolverhampton 5/7/12

There are an increasing number of bands, it seems, that were nearly big in the 80s that have come back for another go in this century.

These aren’t the type of bands who can fill stadiums at the mere mention of them playing their debut album in full, but are, you suspect, doing it because they damn well enjoy playing music – and of course, if they can get on the nostalgia bandwagon in some small fashion, then why shouldn’t they?

Led by Reuben Archer, Stampede definitely fall into that bracket. The band fell apart in the early 1980s when Archer's stepson, guitarist Laurence left to join Thin Lizzy.

Now they are back, flexing their melodic rock muscles, and doing so in a very British way. Their comeback 2011 release “A Sudden Impulse” is well thumbed tonight and “Send Me Down An Angel” from that record stands up superbly alongside early career songs such as “Days of Wine And Roses” and “Missing You.” Frontman Rueben Archer- is full of confident charm and not even the cramped confines of the Slade Rooms stage can dull his cheer.

Everything we said about Stampede holds true for Diamond Head, except that is for a couple of key points. First, they have a legacy that stands up with most of the late 1970s/early 1980s and second, they are held in massive degree of reverence in metal circles thanks largely to their influence on Metallica, so much so that they are almost the fifth of the Big Four if you will.

Of course, this hasn’t resonated perhaps in record or ticket sales, hence why this gig is being played in the smallest of the three main Wolves venues and even then is far from full.

Since their reformation on a permanent basis, Black Country based Head have blended a couple of new albums with a loving mining of their back catalogue and this is reflected in their setlist. For example, the title track of the brilliant “Lightning To The Nations” album sounds just as good as “Pray For Me” from 2005’s “What’s In Your Head” opus.

This is perhaps because the band have re-invigorated by the presence of singer Nick Tart, who replaced original frontman Sean Harris in the year before “What’s….” came out. He braves both the sweltering heat and the tiny stage to put in an enthusiastic performance, Bassman Eddie Moohan lives up to his nickname of “Chaos” joins him but it is perhaps drummer Karl Wilcox who is the most impressive.

The band had cancelled their previous couple of shows due to Wilcox’s ill-health but he is back behind his kit for tonight’s hometown (ish) show and despite clearly struggling he manages to play a small solo during encore “Helpless.”

Prior to that, the band – who boast the effortlessly cool lead guitarist Brian Tatler as their only original member have given us a thrilling rendition of their signature piece “Am I Evil?” but don’t make the mistake of thinking this was all about wallowing in history.

Diamond Head – and Stampede too – are bands with plenty to be proud of, but plenty to look forward to as well.

ARNOCORPS @Asylum 2 Birmingham 2/7/12

Ok. Lets get this straight. Arnocorps are amongst the most ludicrous bands in the world. Here is a group from – as RTM understands it – San Franscisco, but who claim to be from Austria and speak with fake German accents onstage.

In 2006 they put out their (so far as we know) only album. Helpfully they entitled this magnificently dumb opus “The Greatest Band of All Time” and by the way, every song on the damn thing is named after an Arnold Schwarzenegger film.

Well, now they are back, touring the UK to (they say) to coincide with the Olympics. Even more helpfully they claimed to have been added to a list of banned substances that World Anti Doping body WADA had for the games. This ban was subsequently lifted, the band said and subsequently put out a press release saying that athletes were welcome at their shows.

RTM doesn’t know if there were any Olympians at the Asylum. But we can confirm that much of the crowd was in military fatigues, many carry toy guns and sport camouflage paint. Those that weren’t were cajoled into putting some on by assembled Arnocorps men (RTM resists). This is not an evening to be take too seriously.

And so it is that the lights go down just after 10pm, Little Richard’s “Have Some Fun Tonight” blasts out and some men dressed as soldiers carrying guitars as bayonets run through the crowd, high-fiving as they go. They are quickly followed by an Arnie lookalike waving a big black flag.

This is how Arnocorps like to enter the room, it seems.

When they do arrive onstage it is with “Arno Intro,” which literally introduces us to the band, and all hell breaks loose. They have a punk ethos to things. The crowd are onstage, the band crowd surfs and everyone has the time of their lives.

The songs? Well the songs don’t really matter but are pretty standard heavy metal, but “Predator” kicks things off and “True Lies” gets an airing as does “Total Recall”...enough said? Far more entertaining are the band themselves. Frontman Holzfeuer is quite outstanding. He insists on calling us “heroes and sheroes” and when someone explains its their friend's birthday he tells us all that “right now I will show you how we celebrate in Austria, right now” in his best cod-German accent.

With the announcement that we will get one more if we scream, the band are back from whence they came. The crowd screams, they duly reappear for “Last Action Hero” and off they go for a  collective crowd surf before bidding us Auf Wiedersehen.

Of course Arnocorps are a one tick pony, but they are best one trick pony there is. There aren’t any other bands like them – and RTM cannot decide if that is a good or bad thing!