Written by:	musclassia, omne metallum
Published:	September 01, 2022
Event:	Bloodstock Open Air 2022 (Website)
Location:	Catton Park, Derbyshire, United Kingdom

Omne metallum: Returning yet again to Bloodstock (which has been my regular haunt since Sonisphere went the way of David Ellefson's career: with a bang and then a whimper) is something I savour each year; usually a high point of a crowded summer season of shows, last year it served as an oasis in a barren desert of live music, such was the state of the live scene last August. This year, however, it served as more as a literal desert, with it taking place during a heatwave and a prolonged drought, meaning conditions were uncomfortable at best and nigh-on body-destroying at worst, from start to finish.

While restrictions are a thing of the past, bands pulling out is still a continuing hangover from the height of the pandemic world; Bloodstock 2022 was not immune from line-up changes, though thankfully at a smaller rate than last year. As last year was almost a ‘best of British’ affair, 2022 marked the large-scale return of international acts and a return to the standard - day fest (3 full days and 1 warm-up half-day). While the loss of the extra day was a shame, the chance to see bands like Mercyful Fate made up for it.




The options for attendees this weekend were limited to watching a band in the burning sun on the open air mainstage or to watch a band in one of the three tented stages, which traded sunlight for higher temperatures and a humidity that resembled a small club show.

With old age catching up to him, Musclassia only did a day ticket for the Saturday, while I indulged in the full weekend experience. This proved to be a weekend of endurance for all attendees, with the high temperatures and blazing sun not being ideal conditions for drinking heavily. Somewhat worse for wear, I managed to survive the weekend, and what could have been the last journal entries of a headbanger (the modern equivalent of Franklin's lost expedition, I'm sure) are instead a review of a weekend of beer, sweat, sunburn and music.

Table Of Contents

Thursday

Friday

Saturday

Sunday

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And so began the four-day slow cook and burn process that was Bloodstock Festival. The walk from the car park to the campsite was a relatively short one, but one made much harder by the already soaring temperatures. With tents put up early while cooler, the day was spent catching up with friends and recovering from the merciless sun.

Basement Torture Killings 17:00-17:30, Sophie Lancaster Stage




An unfortunate false start to the festival for me, while I had looked forward to Basement Torture Killings' brutal death metal, I was in no shape to enjoy it, thanks to a day of toiling in the sun, and so I left after three songs and retreated back to the campsite.

Nekrogoblikon 21:05-22:05, Sophie Lancaster Stage

With the moon rising, it was time for take two, and what better way is there to kick off a festival than some good old-fashioned goblin metal. Exactly the kind of band I want to hear to ease me into a weekend of metal, with Nekrogoblikon's wacky, batty, but oh so fun antics bringing a smile to the crowd's faces, as the likes of "The Magic Spider" and "Powercore" filled the air. After the false start earlier, it finally felt like the festival was kicking off for me.

Dark Tranquillity 22:45-23:55, Sophie Lancaster Stage

With The Night Flight Orchestra being moved to the Sunday, it meant the usual party atmosphere of the Thursday was robbed of its ideal headliner (more on this later). However, although they might not share the same comedy and novelty value, the substitution of Dark Tranquility meant that the Thursday still packed a strong headliner.

Putting on one of those shows that put you in a trance, Dark Tranquility clicked in a way that engrossed me throughout and ensured I came out of the show with a much higher opinion of the band, thanks to a set packed with solid new material in the shape of "Identical To None" et al, alongside classics like "Inside The Particle Storm" and "Lost To Apathy". Even with the hindrance of being a guitarist down, the band were in fine form and the sound mix balanced the band's synth flourishes alongside powerful guitar work and Stanne's adept vocals.



A late night of partying was met with the reality that mornings were to be started off with waking up in a burning hot tent. As the realisation that Bloodstock was going to be a marathon instead of a sprint began to set in, I and many other bleary- and bloodshot-eyed campers emerged into the scorched Earth that was to be the weekend ahead.

Hellfekted 10:30-11:00, New Blood Stage




Managing to entice the audience to move and mosh is usually difficult enough as the first band on in the morning; convincing a packed-out tent to move while hungover and overheated was a harder task, but one Hellfeckted managed with ease. A solid show that highlighted the live prowess of one of the hardest working bands on the circuit currently, a great start to the day.

Red Method 10:45-11:15, Ronnie James Dio Stage

I had planned on seeing the whole of Crepitation, but having found shade, I didn't want to move. With Red Method providing the soundtrack to my shade break, it was enjoyable, though not something that grabbed me beyond casual listening. While "Ideology Of The Sick" is a good calling card, the band need to up the ante on the next album to propel them further up bills in future.

Crepitation 11:00-11:30, Sophie Lancaster Stage

After having had enough of a break, I decided to venture out and catch some Crepitation. The band's slam stylings kept the morning moving and proved a temporary distraction from the heat. Though it was a short and sweet burst of power, it was one that hit hard and hit well, making me somewhat regret my human need for a break from the sun.

Inhuman Nature 11:50-12:20, Sophie Lancaster Stage

Enjoyable if standard thrash, the early burst of enthusiasm had started to wane with the heat by this point. While the band didn't put a foot wrong, I couldn't muster much more than a gentle headbang as the band put on their best showing for those in attendance. While tracks like "Taste Of Steel" highlight the potential the band has, they currently lack that special something to take their show to the next level.

Sorcerer 12:45-13:25, Ronnie James Dio Stage




Great, early highlight. The band's riff-driven heavy metal hit the spot perfectly and ensured those that braved the sun were treated to a band who have yet to be fully given their due. With the refrain of "burn witch" taking on a different dimension today, "The Hammer Of Witches" kicked off a short, but powerful set that had those in attendance under their spell. With Engberg waving Sorcerer's flag high, he led the charge as the band tore through a 40=minute set that ended far too early, and had me and others cheering on in vain for more. Hopefully a band who become a more regular feature on these shores.

Bloodywood 13:45-14:30, Ronnie James Dio Stage

Pulling the largest crowd of the day thus far, and one that was keen to mosh and listen intently. The band's brand of Indian nu metal had the crowd in awe, all eager to hear a new and refreshing take on metal. Tracks like "Aaj" electrified the audience, and ensured they would walk off the stage with plenty of newly converted fans.

Bloodywood also introduced the second big issue of the weekend, that any moshing by the mainstage would whip up clouds of dust that would only get worse as the weekend went on.

Machine Head [Secret Set] 14:45-15:45, Sophie Lancaster Stage




Perhaps one of the worst kept secret sets to play a festival, with t-shirts at the merch stand and the band themselves heavily hinting during a recent livestream, the resulting packed tent that was the second stage meant that it would be a hot, sweaty and cramped affair almost as unbearable as Catharsis. Machine Head was a challenge for anyone in the crammed second stage tent, but for those who could get in and manage to stay on their feet, they were treated to an amazing hour of deep cuts and classics. With Vogg unable to attend, the rest of the band tore through the likes of "The Dagger" and "I Am Hell (Sonata In C#)" to the delight of the sweaty masses, even with the band being a member down. One of those sets that go a long way to turning around a damaged reputation.

Exodus 17:15-18:15, Ronnie James Dio Stage




The only problem with bands like Exodus is that they're very predictable to review, because everyone knows you're guaranteed some friendly violent fun and today was no exception. My original plan was to catch some of Exodus and run to watch Heathen, but thanks to the high quality of what was on in front of me, that plan flew out the window, and instead I saw the rarity of "Deathamphetamine", alongside a few new tracks and the standard, but still compelling, classics. With Holt and Zetro long back in the fold, the band tore through their set with an energy and intensity that made the likes of "Bonded By Blood" come to life. The only niggle was "Prescribing Horror", which killed the set's momentum, though not before the band quickly accelerated back to warp speed.

Testament 18:55-20:10, Ronnie James Dio Stage




With the sun mercifully starting to recede, I was able to move around a bit more without instantly overheating. Thankfully, this coincided with one of the most appropriate bands on the bill, with the set packed full of songs to get your blood pumping and feet moving. A Testament show is either brilliant or an experience hampered by poor sound. Thankfully, today had a crystal clear sound, with the band's power and technical prowess unhindered. The return of Lombardo on drums gave the band an added edge, with the little frills and thrills added to "Practice What You Preach" and "Night Of The Witch". Ending on "Alone In The Dark" was an inspired choice and meant, for me at least, the set ended on a big high.

Behemoth 21:10-22:40, Ronnie James Dio Stage




Weary after a long day in the sun, I went into Behemoth struggling to stand. Early technical difficulties meant a slow start before the band picked up momentum. While enjoyable, it was a weak end to a day that had long taken its toll on me, and I found it hard to get invested in the set. Though I wasn't initially convinced by the idea of the band being a headliner, Nergal and co know how to put on a performance, with "Conquer All" and "Christians To The Lions" managing to rouse me out of my broken state to move and headbang again, alongside other strong cuts like "Evoe" that are evidence the band have the credentials to justify their spot.

With that, I retreated back to the campsite and a tent that was now filled with cool beers; it appeared I was not alone in living after midnight, with campers making up for the lack of partying during the heat of the day with partying in the coolness of the night.



Omne: With the heat still not abating, day 3 of living on the sun began with a whimper and another hangover. After regaining some level of humanity, I met up with Musclassia, who had decided living in an oven was not to his style and so had plumped for a day ticket.

Musclassia: This is where I join the story briefly. I had considered buying a full-weekend ticket for this year’s Bloodstock, considering what a great time I had during my first visit to the festival last year. Still, the line-up this year seemed a bit too scattered in quality, and ultimately I decided that my only main priority for the year was to see the Saturday headline show of Mercyful Fate, so I opted for a day ticket to save on costs and leave from work. And so it was that I headed up early on Saturday morning in anticipation of a good day of music and an impending battle between my pasty skin and the raging sun.

Baest 10:45-11:25, Ronnie James Dio Stage




Musclassia: The first band on the main stage, and my first taste of this year’s event, were Denmark’s Baest, ensuring that the day would start and end with Danish representation. They made for a decent opener, although with the heat already beginning to escalate, I found myself struggling to connect with this set, and I wasn’t too disappointed for it to be over.

Omne: Death metal at 11 in the morning was a tempting prospect, but a morning misspent with several cans of hair of the dog meant that the rising sun hit me harder than Baest's brutality. Though the band were able to cut through with "Gargoyles" and "Necro Sapians", it was an uphill battle, but one that the band fought valiantly. A strong showing and one I'll be sure to keep tabs on going forward.

Mastiff 11:50-12:20, Sophie Lancaster Stage

Musclassia: The first band of the day that I was properly looking forward to, Mastiff followed up a rampaging display at Incineration Fest with another fiery blast of sludgy hardcore, with outbursts of violence countered with stomping slower riffs. It also helped that the other stages apart from the main stage were under tent cover, which made it easier to concentrate on the music.

Omne: Deciding the shade of the tent was a more alluring prospect than wilting in the sun, I saw Mastiff on Musclassica's recommendation over Lost Society. A solid choice for sure, with Mastiff’s heavy rhythm section the perfect hypnotic groove to recover to. A band who you could close your eyes and bop your head along to the crushing rhythm of too, a welcome break of sorts.

Pupil Slicer 12:40-13:10, Sophie Lancaster Stage

Omne: Musclassia's recommendation giveth, Musclassia's recommendation taketh away; honestly, beyond being bored I can't remember much about Pupil Slicer. Still, beat being burnt alive in the sun.

Musclassia: When it comes to Pupil Slicer, ‘recommendation’ is a strong word; I merely considered watching them under tent cover was preferable to whoever was outdoors. The rising star power trio had a busy schedule, as they would be playing at ArcTanGent festival the following weekend, which I would attend but not be able to catch them at due to clashes. Instead, I stayed on after Mastiff to see another round of their mathgrind after seeing them earlier this year supporting Rolo Tomassi. There’s some metal styles that translate more effortlessly to the live setting than others, and some of the sharper edges and intricacies of Pupil Slicer’s complex aggression were muddied by the mix, but it was nevertheless a performance full of conviction if nothing else.


Lorna Shore 13:45-14:30, Ronnie James Dio Stage




Musclassia: Continuing the streak of bands I’d already seen earlier this year, Lorna Shore moved from headline status when I caught them in March to a lower billing, and naturally some songs were lost as a result. What I wasn’t expecting, however, was a complete absence of material from Immortal; after opening with the entire …And I Return To Nothingness EP (much as they did on their headline tour), Lorna Shore filled the second half of their set with songs from their upcoming new full-length Pain Remains. On the one hand, I’m sure Will Ramos appreciates the chance to only perform songs from albums he featured on, but it still feels a bit strange to completely leave out “Immortal”, a very recent major breakthrough song, when playing for a less fan-filled crowd. Still, the new songs came across well live, with Ramos putting in an excellent display on vocals; naturally, the symphonic backing tracks didn’t always cut through as much as one might hope, but this was a good fun set.

Omne: One of those bands who seem to be the zeitgeist of the moment, Lorna Shore were up next and a chance to see if they were all sizzle and no steak for myself. Will Ramos certainly has a set of pipes on him for sure; sounding like a blood vessel or his breakfast could come up at any moment, he roared his way through a set of tight deathcore cuts that will likely be modern classics of the genre in "To The Hellfire" and "Of The Abyss", two tracks that hit harder than Will Smith at an awards show. The hype is real and for good reason.

Sylosis 14:55-15:40, Ronnie James Dio Stage




Musclassia: Because I’m a complete dork, I’ve maintained a spreadsheet of all the bands I’ve seen, and how many times I’ve seen them, since I first started going to live music shows, and at the top of the most witnessed bands list stands Sylosis, with their set here (a late addition to this year’s bill, which made up for their last-minute withdrawal from 2021’s festival due to Josh Middleton catching Covid) my 14th time watching them play. Across all those performances, the ever-present songs from the early records, such as “Blackest Skyline”, “Teras” and “Empyreal”, have never lost their appeal, sounding as good at Bloodstock as they did a decade ago. However, this set did feed into my minor dissatisfactions with recent material from the band; playing the two standalone singles “Worship Decay” and “Heavy Is The Crown”, Sylosis highlighted their current predilection for mid-tempo stompy tracks with sing-along choruses, which I find moves away from their strengths. I still had a great time during their performance, but I do wonder whether it's going to be a case of diminishing returns going forwards with every new show I add to that hefty total.

Omne: A band who were once regulars on the UK circuit, Sylosis have been on hiatus for far too long. After the last-minute cancellation last year, it felt like a long time coming finally seeing Sylosis again. The band's 45-minute slot felt far too short, with several tracks I had hoped to see not appearing. The band's set was still met enthusiastically by the crowd, even if many of their hits were omitted. The surprise inclusion of "Teras" and "Blackest Skyline" showed that the band had quality stretching right back to the beginning and were showing no signs of slowing up, with new cuts "I Sever" fitting like hand in glove next to the band's classics.

Bile Caster 15:40-16:10, Jagermeister Stage

Musclassia: My only visit to the smallest of the four stages was to see a band that I not only saw already earlier this year, but that I should also be seeing again next month, and all 3 shows have been or will be very satisfying to witness. Bile Caster play a dirty brand of droning sludge, and the tone that they generate with a three-person set-up is absolutely filthy. The ponderous, hypnotic grooves rendered with a visceral low-end rumbling made for effortlessly easy headbang material, and this was one of my favourite sets of the day.

Samael 16:25-17:05, Sophie Lancaster Stage

Musclassia: I know Samael from their reputation, but not really their music, as I’ve only tried a couple of their albums in the past, most of which were released prior to their transition into the industrial metal force that they are today. Watching them at Bloodstock, I did find myself wondering how well the harsh vocals, which presumably have been in place since their early black metal days, really go with the surrounding industrial instrumentation. It felt to me like a slightly awkward combination, but I must also admit that, even disregarding this quandary, I was not overly gripped by Samael; it did the job of filling some time in a mid-afternoon dry spell before the grand finale to the day, but it didn’t inspire me to revisit the band in the comfort of my own home.

Dimmu Borgir 18:55-19:55, Ronnie James Dio Stage

Musclassia: The thought of seeing Dimmu Borgir play the sub-headline slot on Saturday at Bloodstock sent my mind back in time one year, when Cradle Of Filth performed in the same slot and sent me running to another stage to escape Dani Filth’s vocals. Thankfully, time has been kinder to Shagrath, and Dimmu as a whole, as this was a far more competent performance, and one that I managed to last the duration of without losing interest. The songs off of the most recent albums weren’t necessarily the most exciting, but the mix and individual performances made them likeable, and the presence of a couple of older classics in “Progenies Of The Great Apocalpyse” and “Mourning Palace” gave me something to savour.




Omne: Black metal and sunlight is rarely a good combination; black metal that relies on atmospherics on top of darkness is an even worse combination. While this put Dimmu Borgir at a disadvantage, when the music did the talking, the band were at their best, with the likes "Progenies Of The Great Apocalypse" and "Gateways" drawing you in with their dark, macabre bombast, which overcame their misplaced surroundings and drew me into their set. The band didn't help themselves, however, by not leaning into the music more, as the gaps between songs were filled with moments that felt pointless, such as the drumming interaction between Shagrath and Daray, which was better left to their own shows than a festival.

Mercyful Fate 21:10-22:40, Ronnie James Dio Stage




Musclassia: When I first saw the return of Mercyful Fate announced, I was immediately stoked to see them, but still with a hint of trepidation, as my passion for them pretty much entirely rests with their 80s material. Therefore, you can imagine my delight to hear that this reunion would focus entirely on 80s material, plus new songs written in the style of those records. While I didn’t expect to click with any new songs, the chance to see tracks from Melissa and Don’t Break The Oath blaring out of the Bloodstock main stage pretty much single-handedly convinced me to buy the Saturday ticket for this year’s festival. Well, Mercyful Fate did not let me down; this was a quality performance. The sound was impeccable; the drum mix in particular was so powerful, it made these tracks sound heavier than I’ve ever appreciated them to be. On top of that, Hank Sherman’s exquisite guitar work, King Diamond’s stage theatrics and the delightfully cheesy stage production made this a great experience, as did a very strong setlist featuring the likes of “Evil”, “The Oath”, “A Dangerous Meeting”, “Come To The Sabbath”, and 11-minute closer “Satan’s Fall”. The new song, “The Jackal Of Salzburg”, was rather stop-start; King said before they started that it still wasn’t finished, and although I don’t know whether it’s a joke or not, I wouldn’t be surprised if it was refined somewhat before it ever found its way onto an album. Still, it was only 1 song amidst a sea of bangers, and overall Mercyful Fate fully justified their headline status.




Omne: The time had come; two years in the making, and finally a band I thought I'd never see live walked out on stage and not only matched the hype, but far exceeded it. From start to finish, Mercyful Fate were on fine form and had the kind of mix you could only dream of, with the guitars leading the charge while the King did his thing. Aside from new track "The Jackal Of Salzburg", which is a work in progress according to the King, each track was classic after classic dug up from the band's first two albums and EP. Easily the highlight of the weekend, it was certainly worth the wait to hear the likes of "Corpse Without A Soul" and "Curse Of The Pharaohs" alongside basically the dream setlist from the group.

Malevolence 22:40-23:55, Sophie Lancaster Stage

Omne: After missing their apparent breakout show on last year's main stage, the chance to see Malevolence cap off a great year (that also included the release of the great Malicious Intent) in the tent was something I could not miss. The packed tent went wild for the band's brand of metallic hardcore, as tracks like "Still Waters Run Deep" and "Serpent's Chokehold" incited chaos. While I did succumb to fatigue halfway through and retreated to a spot less crowded, the set was still strong even without the contagious adrenaline rush of the crowd's. I was instead treated to a great visual show of endless crowdsurfers and limbs flying through the air.

Musclassia: I went to see Malevolence mainly because the guy I’d gone to the festival with, and who was driving us there and back, wanted to see them, but I was also willing to see if this would be the occasion in which their current rising status made sense to me; alas, I feel this band will ultimately sit alongside Code Orange in the ‘I just don’t get it’ category. Ultimately, their groove metal/hardcore fusion just feels too much like noisy machismo without satisfying hooks that rise above the noise, or songs that flow satisfyingly as whole compositions. Thankfully, my friend had his fill within a few songs, so I escaped without having to power through the whole set.

Musclassia: And with that, we started on a long journey home; it was a long day, but it was worth it just to see Mercyful Fate play, with the likes of Lorna Shore, Sylosis and Bile Caster offering added bonuses. I bid you farewell, and leave you with Omne to guide you through the final day of Bloodstock.



Wouldn't you believe it? It only got even hotter for the fourth and final day. The adrenaline and reserves that powered me through yesterday were well and truly gone come Sunday morning. As a result, many bands I had originally planned to see were skipped (Venom Inc. and Belphegor) or pulled out due to heat exhaustion themselves (tell me about it), with Life Of Agony's drummer succumbing the day before.

Vio-lence 13:45-14:30, Ronnie James Dio Stage




One reason I love this festival is their habit of booking old school thrash bands I never thought I'd get a chance to see. This year, Vio-lence were that band, and damn I was finally excited to see one of the most overlooked bands in the genre. While Sean Killian is one of the messiest and most disinteresting vocalists in the scene, the rest of the band were tight and on point. With the riffs upfront and played to perfection by Demmel and Gustafson, who were positioned to be the focal point of the mix, classics like opener "Eternal Nightmare" and "Kill On Command" blasted across the busy arena as braver people than I dared to mosh in the blazing sun. A solid show and hopefully the band's live debut in the UK is followed quickly by more appearances.

Cattle Decapitation 16:05-16:50, Ronnie James Dio Stage




It's a good thing Death Atlas was a brilliant record, for the American deathgrind masters leant heavily into the album for their set. Drawing a large and mosh-ready crowd, the band put in a great performance, and one that perhaps matched the environmental conditions surrounding them, as the sun and dust clouds weighed heavy on the audience. With perhaps the most intense moshpit of the weekend during the jinxed "Bring Back The Plague", Cattle Decapitation were one of the best received bands of the weekend, and for good reason, as they stormed through a set that comprised of the best deathgrind this side of the 2000s in "Plagueborne" and "Forced Gender Reassignment". Hard-hitting and sonically unrelenting, certainly a band who should be more celebrated than they currently are.

Ill Niño 17:30-18:10, Sophie Lancaster Stage

Deciding against burning in the sun to Dark Funeral, who were going to struggle in the light, I opted instead to check off one of those bands I've had on my list for a while but never thought our paths would cross in Ill Niño. While the band don't have a stellar reputation, they defied that conventional wisdom with a surprisingly tight set that focused on their early material for the most part. "Revolution Revulucion" and "What Comes Around" were more than just half-arsed trips down memory lane, with the band firing on all cylinders and the audience overcoming the heat in the tent. A shame the microphone kept blasting out feedback every so often, that would take you out of your immersion.

Killing Joke 18:55-20:10, Ronnie James Dio Stage




A band I never thought I'd see at a festival like Bloodstock, an out-of-the-box booking if there ever was one, but one that felt strangely at home amongst the horde of metalheads waiting for them to walk out on stage. Strangers to convention, the band ignored their surroundings and did things their way, from Coleman's aloofness and menacing presence to Youth and Geordie's approach of letting the music do the talking. The band pumped out hit after hit, from mid-career banger "Death And The Ressurection Show" to early material like "Requiem" and newer tracks like "I Am The Virus". A very marmite set; those that loved it were in absolute thrall, while those for whom the band didn't click with were left bemused and not totally entertained by the band's unique way of doing things.

Lamb Of God 21:10-22:40, Ronnie James Dio Stage

Lamb Of God have been one of those bands that, no matter how many times I listen to them either live or on record, I am never able to really enjoy them, save for a few select songs. The same can be said for this night, for while tracks like "Ruin", "Walk With Me In Hell" and "Redneck" had me hooked and headbanging wildly, the rest of the set had me drifting between boredom and mild interest. It didn't help that the band would go dark between guitar changeovers and for breaks, killing any momentum they otherwise had. I, however, was clearly in the minority, as the packed arena was going wild for the band, with many wailing along as the band went through their set with workmanlike precision.

The Night Flight Orchestra 22:40-23:55, Sophie Lancaster Stage




As alluded to earlier, this band were originally slated to headline the Thursday night, which is traditionally party night, something the band seemed born to do. This, however, wasn't the missed opportunity it originally seemed, as the band instead tapped the crowd's desire to have one last party to cap off the first "normal" Bloodstock in three years. The band's Miami Vice rock was the perfect tonic for the situation, with tracks like "Satellite" and "Burn For Me" having everyone up and dad dancing like it was a wedding reception. The giant conga lines that broke out and went in and out of the tent for the closer "West Ruth Ave" ensured the festival ended perfectly. The perfect festival party band for sure.

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And with that, the weekend drew to a close and on a high that only live music can provide. While the heat was certainly something I won't be missing in a hurry, it was a long time coming to have a festival experience much like those prior to the pandemic. With the bands and company being top quality, it was one of those weekends where the stars aligned to live up to the excitement that had been building for a year and counting. While Mercyful Fate were the clear highlight of the weekend, The Night Flight Orchestra and Dark Tranquillity ran them surprisingly close. Alas, normality beckons once more, and I rejoin the normal world yet again.