Any traveller, for whom Crete Hall Road is virgin territory, is met by a demolition site, a dead end, and barely a breath of life for around 3 miles. That is, until they spot The Red Lion: Gravesend's primary epicenter for rock 'n' roll spice. And that epicenter is in full swing at 8.30 tonight, as the main stage kicks off with SONS OF TORMENT (7/10). An all-male mechanical onslaught of intensive metal serves a dish of fluid technicality and concentration, underscored by a furious intent. Bassist Liam Vicary masters compact and complex finger patterns, which, coupled with drummer Alfie Hollins' prominent double-kick use, weights a strong, Kirk Hammett-esque decoration of tapping, sweep and tremolo picking and chorus arpeggios from guitarists Liam Lawless and Robert Aitken.
Songs to catch include "Destroy Freedom" and "Never Return", as Sons of Torment cast a promising, marketable and head-thrashing bait before the metal carnivores; although evidently capable of competing in the arena with much older lions already, a little more experience and refinement will ensure that the heavier side of the music world sees truly great things from them. Watch this space.
Songs to catch include "Destroy Freedom" and "Never Return", as Sons of Torment cast a promising, marketable and head-thrashing bait before the metal carnivores; although evidently capable of competing in the arena with much older lions already, a little more experience and refinement will ensure that the heavier side of the music world sees truly great things from them. Watch this space.
And so enter the proficient groove maestros, SNAKEBITE (9). Bromley's blazing bullet to Bloodstock and Wacken engulf the Lion with a polished savagery tonight: paradoxically slick tribalism, and undeniable star quality. Lead guitarist Andrew Matthews employs the technical staples with speed and finesse, but the notable talent is his uninhibited flair for instrumental experimentation and expression. The conjuring of an efficacious selection of notes based on quality as well as quantity, peppered with liberal whammy-bar tricks and an almost percussive timing against the rhythm, produces engaging and flamboyant harmonic and modal solos implemented within the plethora of gargantuan, metal-soaked licks and riffs that have become Snakebite's signature.
With the infectious quality of the body-gyrating "60 Units" and "Visceral Pissery" saturated in the energy and gravel of vocalist Jason Smith, Snakebite's professional edge contrasts, yet conjoins, with their unadulterated animal core, and distinguishes their pedigree within the upper echelons of London and Kent's darker creative ensembles. Experience them yourself... They dare you.
Strength is in absolutely no shortage tonight, however, as ZOCALO (9) take the glare of the lights. Fourth pours an irresistible concoction of old-school rock, shocked through with a prismatic selection of funk rhythms, metal, and the very depths of the blues: a tower of their own breed of groove. Nerve-wrenching riffs, playing with blues-interval patterns and descending to the root note for extremely satisfying resolution to the musical ear, are sliced into a basketful of varied rhythms, and doused in glissandos and vibratos: propulsion of Zocalo through the parameters of current definitions of metal, and its often pre-conceived sound.
Arresting vocalist Sarah Humphries, with throaty and powerful tones, offers melodies in perfect consonance to the main guitar themes, as a flirtation with orthodox blues techniques of 'question and answer' between vocal and guitar ad-lib imbues clarity of timbre with an Alannah Myles-esque knife-edge: the perfect soulful ornamentation to such underpinning grittiness. With tunes such as "Carved from Stone" and "Providence" exemplifying their talent, Zocalo are establishing themselves as a contemporary hybrid of the greatest elements of a variety of excellent genres, and sail through the gates of Bloodstock as a dominant force to be reckoned with. Just don't try to stand in their way.
And the grand, and undoubtedly epic, finale of the night manifests in the form of the dark and delicious SPLINTERED SOUL (9). Dartford's self-proclaimed "progressive, film-score metal" fivesome display an impressive, cinematic experience of dense and layered rhythm, intricate guitar harmonies and a myriad of electronic injections: their own brand of Gothic theatrics, and an undoubted feast for the senses. Compelling frontwoman Mandi Bailey delivers a seamless vocal transition between operatic, falsetto and Anne Wilson-tinged belting styles, with a tremendous sustained vibrato to boot; power, passion and gesticulation are in equal balance amongst the quintet, pronouncing an evident musical and personal chemistry to visually corroborate the grandeur of their sound.
With Leaves' Eyes and Within Temptation-esque synth incisions and backing tracks to equip their performance with a flawless, 'studio' quality, anchored by prominent melodies and a fierce, energetic intensity, Splintered Soul alight conventional Gothic metal with a dramatic dynamism of their own possession. Material including "Oblivion" and "Awakening" is compulsory listening, as Splintered Soul concretize a volcanic closure to an evening that serves testament not only to the creative breadth of London and Kent's unsigned musical artistry, but also the unequivocal impact with which Bloodstock 2010 is met by three dazzling Southern representatives. Metalheads: Get your horns at the ready. The beasts are coming.
Review by Rhiannon Maiden. Copyright © Rhiannon Marley. All rights reserved.
With the infectious quality of the body-gyrating "60 Units" and "Visceral Pissery" saturated in the energy and gravel of vocalist Jason Smith, Snakebite's professional edge contrasts, yet conjoins, with their unadulterated animal core, and distinguishes their pedigree within the upper echelons of London and Kent's darker creative ensembles. Experience them yourself... They dare you.
Strength is in absolutely no shortage tonight, however, as ZOCALO (9) take the glare of the lights. Fourth pours an irresistible concoction of old-school rock, shocked through with a prismatic selection of funk rhythms, metal, and the very depths of the blues: a tower of their own breed of groove. Nerve-wrenching riffs, playing with blues-interval patterns and descending to the root note for extremely satisfying resolution to the musical ear, are sliced into a basketful of varied rhythms, and doused in glissandos and vibratos: propulsion of Zocalo through the parameters of current definitions of metal, and its often pre-conceived sound.
Arresting vocalist Sarah Humphries, with throaty and powerful tones, offers melodies in perfect consonance to the main guitar themes, as a flirtation with orthodox blues techniques of 'question and answer' between vocal and guitar ad-lib imbues clarity of timbre with an Alannah Myles-esque knife-edge: the perfect soulful ornamentation to such underpinning grittiness. With tunes such as "Carved from Stone" and "Providence" exemplifying their talent, Zocalo are establishing themselves as a contemporary hybrid of the greatest elements of a variety of excellent genres, and sail through the gates of Bloodstock as a dominant force to be reckoned with. Just don't try to stand in their way.
And the grand, and undoubtedly epic, finale of the night manifests in the form of the dark and delicious SPLINTERED SOUL (9). Dartford's self-proclaimed "progressive, film-score metal" fivesome display an impressive, cinematic experience of dense and layered rhythm, intricate guitar harmonies and a myriad of electronic injections: their own brand of Gothic theatrics, and an undoubted feast for the senses. Compelling frontwoman Mandi Bailey delivers a seamless vocal transition between operatic, falsetto and Anne Wilson-tinged belting styles, with a tremendous sustained vibrato to boot; power, passion and gesticulation are in equal balance amongst the quintet, pronouncing an evident musical and personal chemistry to visually corroborate the grandeur of their sound.
With Leaves' Eyes and Within Temptation-esque synth incisions and backing tracks to equip their performance with a flawless, 'studio' quality, anchored by prominent melodies and a fierce, energetic intensity, Splintered Soul alight conventional Gothic metal with a dramatic dynamism of their own possession. Material including "Oblivion" and "Awakening" is compulsory listening, as Splintered Soul concretize a volcanic closure to an evening that serves testament not only to the creative breadth of London and Kent's unsigned musical artistry, but also the unequivocal impact with which Bloodstock 2010 is met by three dazzling Southern representatives. Metalheads: Get your horns at the ready. The beasts are coming.
Review by Rhiannon Maiden. Copyright © Rhiannon Marley. All rights reserved.
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