There’s multi-tasking, then there’s the sensory juggling act that is Wacken Open Air: shooting photos, reviewing, drinking, listening sessions (CYNIC and HOLY MOSES), grabbing a quick bite to eat before returning to the massive infield housing four stages, to imbibe in the aforementioned in a vicious, repetitive cycle for 2 days. That’s if everything goes according to plan. This year’s rendition welcomed 75,000 customers (although apparently a ticket to Thursday evening’s IRON MAIDEN headlining show didn’t guarantee admittance, as a few thousand late-comers were denied access to the overcrowded grounds). The set was identical to the North American dates, down to the introductory WW II era cartoon depiction of Germany swallowing Europe, odder given our surroundings. Bruce Dickinson berated an operator of the crane-mounted camera, “You fat fuck, I’m serious, I don’t want to see that crane again!” Don’t expect any Maiden video on next year’s retrospective DVD.

Wanted to see ALESTORM, but their Wet stage appearance spilled out of the tent and was drowned out by AVENGED SEVENFOLD. The size of the gathering they pulled virtually guarantees the Pirate metallers will be back and granted a stage upgrade. Other North American favourites like AS I LAY DYING, UNEARTH, KILLSWITCH ENGAGE were on the bill, each playing one of the massive main stages, to modest degrees of success, trying to inspire people to mosh. Bad idea with 30,000+ drunks at a time, not to mention the unsure, if not quagmire footing! This latest Wacken “trend” is a recipe for disaster.

The resurrected HEADHUNTER, fronted by DESTRUCTION bassist Schmier, were splendid in matching glowing green skull t-shirts. In the remnants of a downpour, the trio concentrated on the early trio of releases, foregoing the title track to Parasite Of Society (destined to make quite a few year-end Best Of lists) adding ‘Doomsday For The Prayer’, ‘Read My Lips’, the video/single ‘Silverskull’ and the next-to-last performed ‘Payback Time’ between old faves like ‘Parody Of Live’ and the set closing ‘Signs Of Insanity’. Meanwhile, on the main stage ENSIFERUM were entertaining tens of thousands with their brand of pagan/Viking-inspired polka, reprising the Finnish flag kilts witnessed at Bang Your Head a month earlier.

After twisting my mind around more than half the forthcoming Cynic disc, powered by a few free cans of Wacken beer (yes, the festival puts their name on just about EVERYTHING. You can even “rent” a private portable toilet for your stay!) courtesy of Season Of Mist, it was off to see KAMELOT. Surely the largest crowd I’ve seen the Floridians amass. If they’ve played to more, I haven’t heard about it. Definitely more than the combined attendance of the entire North American tour! Founder/guitarist Thom Youngblood surveyed the situation like a proud papa. Khan (what’s with all the one name Norwegian singers: Khan, Jorn, Shagrath, etc.?) took the occasion to heart, kneeling and bending backwards to lie on the stage during ‘Karma’, his face more forceful, looking pissed-off (although not). Backed throughout by a leggy female vocalist, who altered between wearing a mask and banging a snare for the fiery ‘March Of Mephisto’, there were also guest appearance by EPICA chanteuse Simone Simons (‘The Haunting’) and ATROCITY/frequent Kamelot touring partners LEAVES EYES’ Alex Krull, who reprised Shagrath’s part off The Black Halo. Icing on a deliciously afternoon treat.

In the humidity of the tented stage, Cleveland’s own DESTRUCTOR offered up some old school thrash, opening with a one-two combo of ‘Pounding Evil’ and ‘Tear Down The Heavens’ from their latest Auburn recording. On the main stage, SOILWORK were running through the likes of ‘One With The Flies’, ‘Rejection Role’, even an oldie like ‘Bastard Chain’. SONATA ARCTICA announced, “We heard it was hotter than Hell yesterday. When we show up, it’s probably going to snow!” No such luck, although the on-and-off rain cooled things off nicely. Tony Kakko hasn’t forgotten the early days, at least not in Europe, with renditions of ‘Kingdom For A Heart’ and ‘Replica’, both off the Finns ’99 debut. The later saw the singer begin the song seated on the monitor, his black flare jeans emblazoned with Unia on the cuffs. Also aired ‘Black & White’ and ‘Don’t Say A Word’, amongst the hour set.

In a MORBID ANGEL t-shirt, Mikael Akerfeldt and OPETH took the stage as the heavens opened. No, not divine inspiration, just more rain. With keyboards “hidden” behind the amplifier backline (visible only from behind-the-band video shown on the jumbo-tron), the sudden media darlings kicked things off with ‘Demon Of The Fall’, then added the likes of ‘The Drapery Falls’ and ‘Master’s Apprentice’. The stoic Swede even managed a few genuine, good-natured smiles. 90 minutes for CHILDREN OF BODOM, just as long as the headlining AVANTASIA. Much as their previous WOA appearance, and recreated on the Chaos Ridden Years DVD, oil drums, plenty of pyro the Marshall cabs stacked 3x4 and an old Dodge littering the stage. Alexi Laiho sat cross-legged, stood and played guitar atop the hood of the oversized prop. Janne Warman had a pair of extra keyboards mounted to the railing of a walkway that let him traverse the stage, side-to-side. Following ‘Mask Of Sanity’ Warman jogged Laiho’s childhood memories by playing a snippet of the Knight Rider theme, which brought a smile to the tattooed one’s face. Later, it was ‘Umbrella’ from Rhianna!?! Returning to more usual fare, there was ‘Banned From Heaven’, the Hitchcockian notes presaged ‘Hate Me’, while ‘Angels Don’t Kill’, ‘Six Pounder’, ‘Living Dead Beat’ and ‘Needled 24/7’ all took their respective turns in the set between newbies ‘Hellhounds On My Trail’ and ‘Blooddrunk’.

What followed was hard to explain. Decidedly German, CORVUS COVEX had a mini-symphony, operatic diva (in full ornate headdress), a choir of white robed/hooded monks and the band with their oddly punk hair styles and medieval era instrumentation. Similar to IN EXTREMO, who more North Americans are familiar with, it was a crowded spectacle onstage. Interesting to see/hear in small doses. Not quite as visually stunning, Tobias Sammet took the stage looking like a cyber cowboy. Bedecked in ten-gallon hat (OK, maybe only 10 liters, in his case) and floor length duster, the red lights reflecting in his black sunglasses created a mix of the Terminator and John Voight’s character in Midnight Cowboy (Joe Buck). The Avantasia band included guitarist turned producer, returning to live action Sascha Paeth and Oliver Hartmann. They were introduced individually by the comedic Sammet, poking fun at the miniscule size of their genitalia. Following ‘Twisted Mind’, Jorn Lande came out to sing a duet for ‘Scarecrow’ and ‘Another Angel Down’ but it was just a tease, as his mic didn’t work! Sort of embarrassing really, especially on the second track, after they tried to speak to him between tune. Up close, stage volume could be heard, but Jorn wasn’t present in the mix pumped out of the sound system. Other guest, Andre Matos (ex-ANGRA, ‘Sign Of The Cross’), MAGNUM’s Bob Catley (‘The Story Ain’t Over’) and guitarist ULI JON ROTH didn’t suffered no such fate.

Originally hadn’t planned on photographing GORGOROTH, but I’m glad circumstances differed. It certainly wasn’t a PETA approved set-up, with nearly 50 freshly slaughtered heads and entrails wrapped in barbed wire littering the stage. Behind the band were four crucifixes, adorned with human meat. Fully nude, heads covered in a black bag, two women and as many men were banished a cross for the entire set. Sonically, it was standing behind a jet engine, the blast rendering all but ‘Possessed (By Satan)’ indistinguishable, Gaahl (with more nails than a hardware store) and bassist King Ov Hell out to prove they’re the one true (or is that trve?) Gorgoroth.

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