Spread the metal:

Wacken Open Air 2008 – Friday



The Swedish death metal veterans Grave had got a rather impolite schedule, timed to kick off at 11 a.m. But that didn’t bother the Grave guys as Wacken was the biggest gig they had ever done and looks to be their biggest one forever. Besides, people had risen on time to catch Grave, who definitely kicked all the sleepy metalheads up with the merciless, uncompromising set consisting of several classic ones such as “Into The Grave” and of course a few cuts off from the latest opus DOMINION III. Even though members have come and gone during these 20 years, Grave sound as uncompromisingly vicious and brutal as they did back in the day. The gig at Wacken just proved the band hasn’t lost an inch in the brutality department. Therefore the mighty immortal “Into The Grave” will be heard for years to come for sure. (Arto)

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What a crappy decision to have to make while nursing a hangover at 10.30 on a Friday morning. Grave on the Black Stage or Primordial on the Party Stage, old school Swedish death metal or pagan folk black metal; the agony of choice had me screaming till I was blue in the face. I think I made the right choice by plumping for Primordial; having seen them live in London a few months ago, I was well aware of the live power of this band, and especially frontman Alan Nemtheanga’s unique and bewitching stage presence. Playing early in the afternoon (albeit under darkened skies) didn’t detract from the experience too much – their intense and emotionally charged brand of folk/black metal seethed through with the band in fine form. ‘Gallows Hymn’ remains one of my favourite songs of the year; I am literally unable to excise it from my mind. (Hanntu)

Empire Falls

Gallows Hymn

Gods To The Godless

As Rome Burns

The Coffin Ships

Heathen Tribes



Thanks to singer Mat Maurer, the dilemma of leaving our tickets on the fridge at home was alleviated. There was no other better way to return the favour than by rallying up the Aussie troops for our official Wacken 2008 gathering in front of the True Metal stage during MORTAL SIN.

MORTAL SIN appeared at Wacken for the first time in 2006 and the WET stage was so packed people had to gather around the openings just to catch a glimpse so it great that one of Australia’s oldest metal acts got to place the BIG stage.

Due to the early start, the festival ground looked a little thin as fans started to filter in after another drunken night, but it soon filled and crowd spanned almost the full length of the festival area. Ray and I lined up early and stuck it through taking photos, headbanging, waving our blow-up Australian flag hands in the air and greeting our friends as they found us in the crowd while the band performed Deadman Walking; Blood, Death, Hatred; Tears of Redemption; Out of the Darkness; Lebanon; and I Am Immortal just to name a few.

During “Mayhemic Destruction” Mat always comes to the audience and embrasses the fans but those directly in front of where he stands ens upbeing pounced on as fans from the back lunge themselves for their little piece of sin…unfortunetly for me, this year I was that poor soul under the many flying bodies.

The guys were buzzing and the crowd was feeding off their stage energy. A sense of pride swells in me when I see Australian acts receiving due recognition and appreciation and no-one deserves it more than MORTAL SIN. (Brat)

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The Floridian progessive metallers Cynic have achieved cult success as well as reputation amongst metal and progessive music fans. The band’s core Sean Reinert and Paul Masvidal have carved out names for themselves in the more progressive oriented rock world on their own after Cynic disbanded in the early 90’s.

Recognizing the Cynic members would have been rather impossible if you had not known that Cynic were playing on the Party Stage, as some years have passed by since FOCUS. The band started the 60 minute set with the calmed down approach. The vocalist Paul Masvidal mostly kept his eyes shut and occasionally took a glance at the huge crowd. In general the band avoided communicating with the audience, letting the eccentric sounding background voices and speeches do the job instead. The set mostly consisted of the material from the FOCUS album and included a couple of new songs off from the forthcoming TRACED IN AIR album. The atmosphere was quite relaxed and psychedelic as the crowd admired the playing skills of Masvidal, Reinert and company. Cynic will head out on the massive European tour with Opeth, therefore drag your asses out to witness them on stage. (Arto)

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Cynic achieved no small measure of respect and recognition as one of the early bands to take death metal away from its brutal and abrasive roots – melding death metal with progressive song structures, jazz stylings and even replacing death metal’s beloved growl/grunt with electronic robotic voicings. Certainly the music is not to everyone’s taste, but I reckon that most people recognise the difficulty and technicality of the songs that Reinert, Masvidal and Malone play. Bassist Sean Malone was not present at Wacken, although he will be recording their second album TRACED IN AIR with them. Robin Zielhorst took on bass duties, replicating Malone’s complex basslines, while Masvidal on guitar looked so chilled-out that he was practically horizontal (on ‘How Could I’, he even took a rest with his legs dangling off the edge of the stage, playing the rhythm parts while Tymon Kruidenier soloed furiously over him). Not the most exciting band on stage, but admire the musicianship if nothing else. They also played two new songs, ‘Evolutionary Sleeper’ and ‘Integral Birth’, which bodes well for the new album. (HannTu)

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Having seen them twice before, I wasn’t too excited about seeing them again. Frontman Jonny Davis appears to have amped up his stage movement; on previous occasions, he was dull and uninspiring to me. I snapped a few pictures, and as the drizzle started, I reasoned that if I were going to get soaked, I’d rather do it while watching Cynic. So I moved over to the Party Stage. (Hanntu)



Could pagan and/or folk metal get any more popular?! It’s so popular now that there are festivals dedicated to this genre and I can’t wait until I get to live one drinking my mead, roasting a pig on the fire, waving my drinking horn during sing-alongs and getting all earthy by wearing flowing natural fabric wench dresses under which leather thonging hold my sandles to my feet. Ok, so many that’s not quite what they’re like, but sounds fun, doesn’t it?

Last time ENSIFERUM played Wacken I sadly missed them due to eternal downpour and not being able to get anywhere near the entry of the WET stage. This year, access to their performance on the Black Metal stage wasn’t much better. Ok, the crowd wasn’t as big for them as Iron Maiden, but I was still forced to watch them from in front of the True Metal stage so although I could see the band moving along the stage and make out their costume of kilts with a Finnish flag motif (super cool and I must have one!) I couldn’t really see their expressions unless I watch the screen which showed with warpaint decorated faces.

There was much syncronised clapping and chanting while Ensiferum played. They covered all their CD releases and finished with an encore! How I wish these guys could tour Australia.

Hero In A Dream

Death Bringer from the Sky

Token Of Time

Into Battle




Lai Lai Hei

One More Magic Dream




Headhunter was founded by Schmier in the early 90’s after disbanding Destruction. Back in the day Schmier and company recorded three albums in a row, but vanished without leaving any bigger traces. Quickly back to the present year, Headhunter reunited some time ago and put a new album out. Therefore Wacken was a more than perfect place and opportunity to show in which strike and shape Headhunter is nowadays.

Of course it is more logical to consider Schmier as a thrash metal vocalist than a trad metal vocalist. The recognizable key of his voice gives its own approach to the thrash metal sound. But as for the trad metal, combining the thrash voice to the more traditional metal approach may sound kind of eccentric, of course it may take some to get used to Schmier’s voice in the Headhunter style. The Wacken show of Headhunter was a little bit rusty as the trio haven’t been together until now, even though they have experience from other bands. Therefore to become a killer live act, Headhunter needs to rehearse a little bit and strike back with a vengeance. Even though the members of Headhunter are known in the metal world, it was kind of surprising to see that only a couple of hundred people showed up to check out Headhunter.

Hopefully Headhunter will do more dates even though other bands of a few certain members seem to keep them rather busy. (Arto)

Just for the reason that Schmier was on stage, I went to check out HEADHUNTER. The veteran band members looked like they were having a great time as they been around a while and didn’t have to prove anything to anyone. I was expecting a lot more people to be watching them. (Brat)






Brat: A late comer to the Kamelot fan club, my early years of listening to their material left me wanting. With age my ears have developed a sense of appreciation of good music even if it doesn’t tickle me senses in some way. Ray decided to get up front for the show, but my short attention span had me  walking about the festival area after a couple of songs soaking them in from afar.

I was creeped out by the constant vacant stare of the backing vocalist made all the more creepy displayed on the larger than life screens and had an ‘80s flashback to the movie Mannequin (starring Kim Cantrall of Sex in the City). From memory this is the first time Kamelot have played Wacken and were a late entry to the line-up, although I’m still not sure if it was a result of Axel Rudi Pell pulling out.

For a band not really in a headlining spot Kamelot’s allocation of visual effects was huge. How the band didn’t melt on stage in their leathers and long coats is a mystery to me. I enjoyed the music, the performances and at times thought I was watching Ray on stage as he and keyboardist Oliver Palotai not only have the same moves, but also share a visual aura. I sang or hummed along with the songs I was familiar with, but still didn’t get that sense of excitement fans feel when they’re about to see a favourite band. It wouldn’t stop me seeing them again if the opportunity arose. (Brat)





Ray: As this was my first time to see Kamelot, and on such a large scale in front of 70,000 people, and loving the latest album Ghost Opera I was full of excitement to see how well they could pull it off live. I had second row and was in it for the long haul as my girlfriend left me to brave the hearty metalheads!

Khan, Thomas, Glenn, Oliver and Casey took to the stage. This set was full of pyros, guest appearances by Epica’s Simone Simons for “The Haunting” and Atrocity’s/Leaves Eyes’s Alexander Krull for “March Of Mephisto”, costume changes by the backing vocalist which made this show enjoyable from start to finish!


Khan was sometimes struggling at points of some songs (heard reports he may have had a cold) but still was the showman with great emotional presence as he and the rest of the band ran through “Rule The World”, “The Human Stain” and “March Of Mephisto”.

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I felt like I was on a barbeque spit by the end of the set with so many pyros going off. This was by far the most enjoyable band of Wacken for me …now to find Brat in a crowd that big??  might just have to get myself a Jack Daniels first, might be a long time before I find her! (Ray)

Rule the World

When the Lights Are Down

Soul Society

The Human Stain

Eden Echo

Center of the Universe


The Haunting

Ghost Opera


March of Mephisto




I’ve only ever given Soilwork my complete attention once-when they were supporting the “legendary” Anthrax in Sydney and I thought Soilwork ruled Anthrax that night. The only time I’ve been in the centre of a moshpit was when The Damned toured Australia and the punks around me went ballistic during Neat, Neat, Neat. The experience left me fearing for my able-bodiedness and was something I had no intentions of fearing for again. Saying that, I love SOILWORK’s music, but watching them live becomes a test of survival while I try to stay away from crippling activities. In turn, this really makes it hard to watch the band without distractions so I haven’t been able to enjoy a full SOILWORK set since the first time.

This year at Wacken was no exception. In fact, it was probably the show I most wanted to stay away from and watch on the big screen as just before “One With The Flies” singer Bjorn Strid told the crowd to part and instigated the biggest wall of death I’ve ever seen. Watching it widescreen was scarey enough. And after this attempt at the Guinness Book of World Records for the largest wall of death, many more followed during the rest of Wacken. Other songs in the set included Rejection Role; Exile; Bastard Chain; 20 More Miles; The Pittsburgh Syndrome; and Nerve.

As I mentioned before, the rain this year was minimal, but it was enough to make the ground wet enough for piggies to have their rolls in the mud. (Brat)






The crowd were chanting “Sabaton! Sabaton! Sabaton!” in anticipation of the band taking to the stage and singer Joacim Broden runs on stage shouting “We are Sabaton and this is Ghost Division!” With dominant keyboards and three other members lending vocals to this band I was mighty impressed with the depth of sound.

Not hearing of them until this year as I was researching all the bands scheduled for Wacken I was surprised by how many people crowded in front of the Party stage for SABATON. Where they hell did SABATON come from and why has it taken so long for me to hear them?!?

The excitement was so much that I experienced yet more nakedness—maybe it’s a ploy for people not to invade personal space. Who knows what may be prodding you if you get too close. I know, I’ve taken a lot of photos of naked guys, but after taking photos of semi clad women the last four years I thought it was about time I pandered to our female readers.


After Panzer Battalion Joacim told the crowd to not chant Sabaton, but “noch ein bier” which had something to do with beer tax that went over my head. Still unfamiliar with most of their stuff, I found out the SABATON set also included Rise Of Evil; Cliffs Of Gallipoli; and Into The Fire.






Cleveland’s thrashers Destructor have constantly visited Germany, doing for example Keep It True and Bang Your Head before. Therefore it was just a matter of time when Destructor would arrive at Wacken. The four-piece after all landed at the small tent stage playing to a half empty tent. What a miss for those who outspokenly flag for the old school thrash metal as Destructor literally stands for the pure old school thrash assault. But however that didn’t get the squad upset. Instead they unleashed the pure storm of steel and the audience thanked them and started the ultimate massive headbanging and pitting.  (Arto)

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I won’t do it, you can’t make me. I won’t, I won’t. No. I love this band and they can do no wrong…well that’s what I thought until now.

After Sabaton Ray and I moved toward the True Metal stage in anticipation of SONATA ARCTICA. One year between shows is too long to wait so I was jumping with excitement. While waiting we ran into two Aussies, Andrew and Turner (who’s also contributed to a few metal-rules pages) we hadn’t seen yet this Wacken and I was surprised to find they also appreciated SONATA ARCTICA.

Finally it was time and we all watched, craned our necks, looked up at the screen and sang along with gusto. I think we should have pushed our way closer to the stage because the people around us didn’t seem to share our passion. There were no hands risen or fingers wiggled with us as we joined Tony Kakko in his high pitched notes and at times the people around us seemed to be paying more attention to the four crazy Aussies singing with SONATA ARCTICA than the actual bands.

We four screamed and high-fived each other in celebration when SONATA ARCTICA ripped into Kingdom For A Heart. This old song is such a classic and has been performed so much that I thought it would have been retired permanently right now. Our not so well-pitched vocals screamed around our silent neighbours as we bellowed, “I’d give a kingdom, I’d give a kingdom…”. Full Moon also brought similar interaction from our foursome as we shouted “run away, run away, run away…heeeeee’s not a maaaaan anymore!”

Even though SONATA ARCTICA pulled our a couple of classics (hear it goes), overall the set was disappointing. For a reason only known to the band they chose to include in their set as many slower numbers as fast ones. This confused me. Why would they do that? SONATA ARCTICA is best know for their speed power metal style of high pitched vocals, gallopy drum rhythms, twister forming guitar movements and a keyboardist that can hold more booze than a brewery. OK so slow for SONATA ARCTICA is nothing like slow for other bands, but still… When we grumbled every time we heard an introduction for a slow numbered our grumbles were met with agreement from the people around us. It probably didn’t help my experience that the song I hate the most was in the set. At one stage one of us yelled out  “do something from Ecliptica” and I was surprised at how many people around us shouted ‘yeah’ in agreement.

As each song ended we tried to guess the next song and after seeing them a couple of times I knew they HAD to do something from Wintersheart Guild and it’s usually my favourite, The Cage.

Still feeling the buzz from seeing SONATA ARCTICA again, Ray and I headed for some refreshment and a sit-down. One the way to our tent I felt, heard and smelt everything that shouted “HOT WATER IN THE SHOWERS” to me from the men’s showers forcing me to abandon Ray to drinking alone while I made the dash for fresh clothing and toiletries. No, I didn’t end up in the men’s showers, but the women’s showers were empty, so not only did I have hot water, but I also had the whole change area to myself managing to keep everything dry. Getting my mud-caked feet clean, however, was a different story. (Brat)

In Black and White

Paid In Full

Kingdom for A Heart





Black Sheep

Don’t Say A Word

The Cage

The Vodka Song





The legendary death metal pioneers Massacre’s visit to Wacken was in jeopardy. However after sorting out problems with the cost of flying, the five-piece landed at the Party Stage to grind the corpses of thousands of people who had attended to see them.

Kam Lee turned out to be a relentless frontman moving like an acid battery tortured zombie. Playing for the tremendous massive crowd must have been a real “beyond all expectations” experience for Kam Lee and other guys, even though Terry Butler and Steve Swanson are used to performing in front of huge crowds with Six Feet Under. The Floridian death metal legends literally mauled the audience by giving a lesson in how true old school death metal is supposed to sound. All the essential Massacre classics belonged to the set. It is needless to start making a huge list of songs, each death metal die hard is supposed to be aware of Massacre’s hymns. Massacre ruled the earth, but unfortunately the band has been laid to rest…or has it?  (Arto)

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And the award for band with the best humour goes to CHILDREN OF BODOM for covering Rihanna’s Umbrella which was abruptly ended by Alex “Pottymouth” Laiho’s “Shut the fuck up!” To get in the groove, keyboardist Janne was sporting a lovely pale bra alla Madonna over his black T-shirt.

Of course they did some great COB classics like “In Your Face”, “Follow The Reaper” and “Silent Night, Bodom Night” as well as some new material from Blooddrunk and I love watching CHILDREN OF BODOM live, but as we saw them in Sydney only two weeks before Wacken up close and personal, we didn’t watch them for long. Mostly, I dragged Ray across so he could experience COB’s great stage set, which look the same as their last Wacken appearance in 2006, with a car body dead centre stage and to experience the ear-shattering volume COB manage to obtain every Wacken. (Brat)


Hellhounds On My Trail

Silent Night, Bodom Night

Follow The Reaper

Living Dead Beat

In Your Face

Banned From Heaven

Needled 24/7

One Day You Will Cry

Mask Of Sanity/Deadnight Warrior medley

Hate Me!

Angels Don’t Kill


Hate Crew Deathroll

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The Björler twin brothers had a double job to take care of at Wacken, playing with both At The Gates and then The Haunted. Placing The Haunted on the third stage was kind of a weird choice as they definitely enjoy a huge following and besides that, the new album is coming out. However the Revolver backdrop had been dug up. The vocalist Dolving is definitely known as an insane relentless frontman. The man raged like a maniac and literally lived up to The Haunted’s aggressive playing. Dolving mostly used the area of the wide range where the Björler twins banged their heads and the guitarist Jensen raged. The several mandatory Haunted classics got played such as ‘99’, ‘Hate Song’ etc. Needless to mention the audience was as crazy as expected in the first place. (Arto)

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Avantasia was one of the bands I was most looking forward to seeing at this year’s Wacken, for a couple of reasons. Firstly, I loved the two Metal Operas and still do. Secondly, what with Tobi’s commitments in Edguy and the difficulty of putting together a full lineup of guest singers, Avantasia tours will probably be as rare as a steak tartare. This lineup wasn’t too shabby either, with some of the confirmed guests including Jorn Lande, Amanda Somerville, Andre Matos, Bob Catley, Sascha Paeth and Miro. Add to the mix the rumours flying around that Roy Khan from Kamelot would reprise his part in ‘Twisted Mind’, and there was much to be excited about.

I was already on tenterhooks, and the overly long set by Corvus Corax over on the Black Stage didn’t help things. I’m all for innovation in heavy metal, but 75 minutes of bagpipe metal was surely taking the piss. A set half that long would have made me interested enough to check them out, but there were ironic cheers when they finally made their long awaited (and drawn out) farewells.

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The Avantasia show was the most disappointing performance I saw at this year’s Wacken, precisely because I was so hyped up about it. Firstly, the sound problems have been well documented. It’s shameful that Children of Bodom left the True Metal Stage at 2230, Avantasia going on at 0015, and the sound crew still couldn’t do their job properly in the intervening time. You felt for Jorn Lande who sang his heart out on his first two songs but was bemused and puzzled at the lack of reaction he got. Tobi too was slightly angry with the crowd: “Come on guys, make some noise!” The front section were chanting “Mi-cro-fon! Mi-cro-fon!” but to no avail. When Lande’s mic finally came back on, it was too loud, as if some sound guy thought, hang on a minute, I’m supposed to turn the dial THIS way. Awful.

Second, the camera crew must have been fast asleep, or extremely ill-prepared. At any one time there would be about 6-9 musicians on stage, yet all you saw on the big screens was Tobi. Even when guests came on to do a vocal spot, the camera stayed on Tobi. When he introduced the guest musicians at the end, it still stayed on Tobi. I don’t think I saw Andre Matos’ face once all night. Hopeless.

The setlist reflected the constraints that Tobi was under. Unable to replicate the entire Metal Opera ensemble, he chose to load the setlist with tracks from THE SCARECROW, which in my opinion was a rather weak album. The biggest reactions of the night came when they played songs from their first two albums; the noise levels picked up and everyone joined in. Tobi is a great performer, of that there is no question. Andre too was brilliant on ‘Sign of the Cross’. Jorn was a bit iffy, even without the mic problems, but give him full marks for effort and professionalism. Amanda Somerville ruined every song she sang in with her over-the-top soul/blues voice – ‘Farewell’ would have been an otherwise brilliantly performed song if it wasn’t for her. No such worries for Uli Jon Roth, it was great to see him play some tasteful solos.

Don’t get me wrong, I always love a great Tobi Sammet show, and to hear songs like ‘Avantasia’, ‘Farewell’, ‘Serpents in Paradise’, ‘Sign of The Cross’ and ‘Reach Out For The Light’ was an experience I won’t forget soon. A chorus of ‘The Seven Angels’ was an added bonus as well. It’s just a shame that everything else was fucked up. (Hanntu)

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No-one expected it to happen. From the release of Avantasia, The Metal Opera, fans hoped, asked, begged for a live performance of the material but mastermind Tobias Sammet always expressed that this work was never going to see the performance stage, that to bring together so many names for a live show would be a logistical impossibility. Well, what’s the old adage, “Never say ‘never’”?

Although not all guests of the three albums would perform, a star studded “cast” was collected for the tour of a lifetime. Vocalists Jorn Lande, Bob Catley, Amanda Somerville (co-creator of Aina) and a person I have been waiting a long time to see live, Andre Matos formed the vocal team. The band featured Felix Bohnke of Edguy on drums, Miro Rodenberg on keyboards, Oliver Hartmann on guitar and vocals, Robert Hunecke on bass and legendary metal producer Sascha Paeth also on guitar, plus special guest for the Wacken performance was Uli Jon Roth during “The Toy Master” and “Sign Of The Cross”.

The sea of people waiting for this performance rivalled any of the large gatherings for the “headliners” this year. After seeing Avantasia in Italy at RockinField (report coming soon), a week before, I wasn’t so insistent on getting close to the stage.


The show started with a few spotlights giving colour to a blackened stage, suddenly the opening guitar riffs scream and the lights shine to show Tobi strumming his microphone, dressed in long coat and cowboy hat on a platform against the Scarecrow album backdrop. He looked and sounded great. I think I’m yet to see a poor performance by him.

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As Hanntu has written, the last show of the tour, though great in atmosphere, was pretty average in standards. The sound problems already mentioned ruined the best songs from the latest Avantasia offering and Jorn Lande is always at his vocal best when singing faster, heavier songs like “Another Angel Down”. Bob Catley lost his place in a couple of songs, most noticeably during “Seven Angels”, I think, where Tobi had to sing over the top of everyone to put them on the right lyics as everyone else seemed to have followed Bob.

“Reach Out For The Light” was sung by Tobi and Andre Matos. What a vocal duo these guys make! Voices so similar, that people often get them confused, and standing at about the same height, in contrasting costume of modern versus period, I was on a high as two of my favourite metal singers performed in front of my eyes. In choreographed moves, Tobi and Andre flew the German flag on stage carrying it as if they were leading troops into battle. A colourful touch.

Singers moved on and off the stage with precision and the band also played a front role during the set showcasing musicianship and personalities instead of being relegated to the back position of most “backing” bands.

Tobi took the opportunity to have a go at the metal media again, most of whom sledged the first single from Scarecrow, “Lost In Space”, during its introduction. Yes, I was one of those who wrote that it didn’t not meet up to his usual standard late in 2007.

During “Farewell” I had to join in with the silly arm and rocking movements that the rest of the audience did under Amanda’s lead, but silliness aside, Tobi looked to be in tears of joy, pride and/or gratitude by the end of the song. I think the realisation of a long-time dream finally got to him on his home soil and even I had a hard time holding back a tear or two for being able to witness this show for a second time in two weeks while he thanked everyone involved in Avantasia including the fans.

The epic “Sign Of The Cross”, a favourite of mine, was a delight for the encore as all the vocalists appeared on the stage together while guitar solos screamed and seven voices performed “Seven Angels” (including backing vocalist Claudy Yang) giving depth to a musical masterpiece. At least this time with a bigger stage (than in Italy) all the flying arms managed to avoid contact but singers still had to make dibs on wireless microphones.

Other than technical and visual hitches, the only thing that could have made this tour 105% for me would have been the seven voices giving life to at least the first movement of the super epic, complex harmony, choral masterpiece and crescendo of Avantasia, The Metal Opera I, “The Tower”.(Brat)


Twisted Mind

The Scarecrow

Another Angel Down


Reach Out for the Light

The Story Ain’t Over

Shelter From the Rain

Lost in Space

I Don’t Believe in Your Love



Serpents in Paradise

Promised Land

The Toy Master


Sign of the Cross

Seven Angels

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Gorgoroth has been in the news lately: either about the name dispute or gossip over Gaahl’s sexual orientation. However it was hinted that their Wacken show would be the same as the controversial show in Poland, shot for a DVD release. It definitely was indeed. The stage looked utterly grotesque and brutal in every aspect. There were a couple of dozen heads of decapitated sheep on the fence, and there were four naked male and female persons covered with hoods hanging on the four crucifixes. The show was directly mirrored from the Polish video gig. Besides the stage construction and visual aspects, the whole theatrical ritual altar was outstanding with massive pyros. The band’s frontman Gaahl looked nasty, nihilistic, brutal, with masks and blood on his face. Gorgoroth’s show was watched by the huge crowd, where some small pits could be seen. Frankly seeing a pit during Gorgoroth was a little bit weird. The set consisted of both old and new material. To be honest Gorgoroth’s black metal was raw and evil as expected, but it fitted perfectly on the night of Wacken with the insane looking stage construction.  (Arto)

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