Images and words by Mark Gromen

Yesterday truly was one of the greatest one-day assortment of bands I've been privy to take in during almost 30 years of semi-professional reporting. Still, Saturday had a fair share of headline stature groups too, capped off by what turned out to be a 24-song, career retrospective by SLAYER, with Gary Holt (EXODUS) filling in for guitarist Jeff Hanneman!

However, the day began with the progressive tones of IVANHOE, helping the crowd awaken from their collective sonic hangover. Caught the later end of the set, which included 'Walk In Mindfields'. Really was interested to see the next band, METAL INQUISITOR, a high energy, traditional metal quintet, with even higher pitched vocals. Short haired, or in the case of bald frontman El Rojo, offstage they really don't project the stereotypical rock/metal image, but the music sure does, with more than a hint of Iron Maiden in their twin guitar attack. In a rare display of ill temperament, someone hurled a show onstage, nailing the bassist in the chest. Not only didn't he miss a beat, but promptly flipped the bird right back! Throughout, El Rojo played air guitar, including 'Persuader' and an atypical 'Restricted Agony', which borders on thrash. A good way to start the morning.

Early in the day, the set changes are ten minutes or less, which even gives the bands a chance to do drum and line checks. Amazing. The DIO/RAINBOW inspired sounds of ASTRAL DOORS followed. Although the band has diversified over the last couple albums, the forthcoming Jerusalem is a concerted effort to return to the style of yore, as witnessed in an impromptu listening session a few hours after their live performance (as reported here: http://www.bravewords.com/news/165748). Kicking off with 'Evil IS Forever', backed with 'Time To Rock', singer Nils Patrik Johansson sported the complimentary fest t-shirt beneath his leather jacket, unnecessary in the bright sunshine. There was also 'New Revelation' and continuing the string of title cuts, 'Of The Son And The Father', where he morphed in a verse of 'Heaven & Hell'. 'Slay The Dragon' gave way to 'Power And The Glory', from last year's Time Requiem. And they were gone.

TYGERS OF PAN TANG, I'd all but forgotten about until seeing their captivating 2010 Headbangers Open Air performance. Yes, only guitarist Robb Weir remains, looking more like KFC's Col. Saunders, or to a generation of Americans, TV's Captain Kangaroo, but he's out their headbanging and rocking all the same. 'Euthanasia', with that killer guitar tone, started things, 'Take It', 'Tyger Bay' and 'Hot Blooded' (not the Foreigner hit). A bit of a lull, no doubt, but quickly righted by 'Gangland' and the backbeat boogie of 'Suzie Smiled'. 'Don't Stop By', 'Raised On Rock' and the closing 'Hellbound' were enough for Schmier (DESTRUCTION), standing with me in the audience. A fan, particularly of the debut, the oft critical thrash giant complained there weren't enough "classics" for a festival set, which is really what most attendees want to hear, and far too many bands don't understand. Regardless of the absence of 'Slave To Freedom' or 'Don't Touch Me there', at least there wasn't 'Love Potion #9'. More power to these old-timers!

Under a banner (or is that banned) proclaiming DISNEYLAND AFTER DARK (aka D.A.D. in North America), it's been more than 20 years since I'd first witnessed the quirky Danes, when WEA brought them to America in support of No Fuel Left For The Pilgrims (their previous pair of import having garnered the industry giant's interest, as well as the Disney conglomerate, who threatened legal action domestically). Still an odd bunch, attired in suit (singer Jesper Binzer), top hat (guitarist Jacob Binzer) or motley colored serape (Stig Pederson). In fact, throughout the years, Pederson still hasn't seen fit to add to his two-string, see through acrylic bass, although both are fluorescent pink! The set covered their entire career, including 'Riding With Sue', off the '86 debut, as well as their lone US hit, 'Sleeping My Day Away'.

Despite running into drummer Norm Leggio (who pulls double duty with CAGE these days), never thought I'd actually get to see PSYCHOTIC WALTZ live, even though I'd been in contact with wheelchair bound guitarist Brian McAlpin since the early 90s. Finally it came true, opening with the insect duo of 'Mosquito' and 'Locust'. Buddy Lackey (aka Devon Graves) wore bell bottoms, so between a bald, stoic frontman and McAlpin's immobility, Psychotic might better be suited to an intimate club setting, their maze of music not really an open air kind of band. No worries, the crowd hung on every note, probably like myself, awed at witnessing the experience, regardless of venue. 'Haze One', 'Freakshow' and a hypnotic 'Into The Everflow' formed a mid-section of the set. Lackey then produced a flute for his Ian Anderson imitation on 'I Remember', a song off their '80 debut Social Grace which recalls Jethro Tull. They returned to said disc to close the show, 'Halo Of Thorns'. Wow, just wow!

Pretty Maids were scheduled next, but it had been announced earlier in a day that someone was stuck in an airport, thus the Danes would flip-flop slots with JEFF SCOTT SOTO (playing in the smaller hall, rather than the big outdoor stage and opposite Slayer). Definite the bad luck award for the weekend, which was all to Soto's advantage, undoubtedly playing to 10x the number of people! The vocalist cut his teeth in the 80s metal realm, alongside Yngwie Malmsteen and Axel Rudi Pell, before heading off on a more AOR/funk solo career. With bondage looped parachute pants and a woven scarf, the curly haired singer opened with '21st Century', he offered covers of ARP's 'Fool Fool' and Dio's 'Holy Diver' (dedicating the later to "Those that have passed."). Knowing where he was, Soto also pulled another Pell gem from his past, 'Warrior'. Know organizers really didn't have any control, making the best of a band situation, but while decent, not really a fitting replacement in my book.

Somewhat surprising how high up the ladder SONATA ARCTICA have climbed. Not that they're a bad band (far from it), but seated third from the top this day! 'Flag In The Ground' is a rousing opener, only to see the momentum abruptly fumbled by the slower/downtrodden 'Blinded No More'. It's follow-up, 'Paid In Full' would have been a better selection, to sustain the energy, especially given the similarly mundane 'Last Drop Falls' was up #4. Sort of a rollercoaster: up, down. 'Victoria's Secret' was a bit of an old school surprise and 'Black Sheep' is a welcome, almost stereotypical Finnish guitar and keyboard interchanging number. Speaking of which, we see Henrik Klingenberg strap on the portable keys, to stand alongside singer Tony Kakko. Continuing the binary song selection, they end with 'The Last Amazing Grays' and 'Don't Say A Word'. Manageable, but I've seen/heard them do so much better.

Home field advantage for HELLOWEEN, but that aside, they come loaded with hits. 'Are You Metal', the first single from the new disc is almost a mantra this late into the festival. 'Eagle Fly Free' and 'March Of Time' nip at its heel, bassist Markus Grosskopf wagging his tongue in best Gene Simmons imitation, as the dapper attired Michael Weikath effortlessly plays, almost disinterested, but he's not. 'Where The Sinners Go' leads directly into a drum solo, Daniel Loeble hidden behind four (!) bass drums, in something of a percussive pillbox. Brief sales pitch over, it's A List from here to the end. 'I'm Alive', 'Keeper Of The Seven Keys', 'Halloween', Weiki's guitar slung just off his shoe tops, striking all kinds of poses. 'Future World' sees the Weenies break into synchronized stage movements, but one got the sense they were tongue firmly planted in cheek. Good to see they were (at least on this day) having fun once again. 'Dr. Stein' and 'I Want Out' round out a thrilling show.

As mentioned earlier, PRETTY MAIDS rolled the dice and same up short, relegated to the smaller adjoining hall, and for a good portion of their set, opposite Slayer. Guess surviving that's small potatoes for originals: singer Ronnie Atkins and guitarist Ken Hammer, compared to surviving the 90s on Japanese-only releases. Just a temporary setback. There's more than a little David Coverdale in Atkins (As the photos will suggest), beyond the aging rocker pedigree. Sporting fedora or stove pipe top hat, a haberdashery sponsorship might be in line. David St. Hubbins wasn't far off the mark! Broke out 'Pandemonium' and 'I.N.V.U.' to start, saving the likes of 'Back To Back' and 'Sin Decade', one of the few decent tracks from the 90s, till the middle of the set. The Lynott/Sykes penned 'Please Don't Leave Me' wasn't expected to these ears, but the closing encore of 'Future World' (not to be confused with the Helloween offering, earlier in the evening) and 'Red Hot And Heavy' was, most certainly! A forthcoming DVD seems the only way most North Americans will have a chance to see the Maids, at this point in their career.

Even for someone who has seen SLAYER repeatedly, since the Show No Mercy days, tonight's staging was epic and 24 songs to boot. Under a massive backdrop, there were two walls of Marshall cabinets, stacked 3x6, flanking either side of drummer Dave Lombardo. 'World Painted Blood' began the night, Gary Holt, on loan from Exodus, to Tom Araya's right, Kerry King, truck chains not enough to keep the frenetic guitarist still. Araya, fresh off surgery, wanders the stage, surveying and giving the evil eye. It would be three songs before he addressed the crowd. 'War Ensemble' saw the stage covered in smoke (no easy feat, given the dimensions), a frequent theme throughout the show. Lights changed from red, to blue to green/teal in the flash of an eye, like a rainbow obliterated by a mega-ton bomb. Yet, how many bands can get away with their frontman being completely unlit/blacked out? Only Slayer! To introduce 'Dead Skin Mask', Araya recited the first first a cappella, like lines of poetry. Then the band kicked in, both King and Holt to the bassist/vocalist's right (first time the evil Flying V tandem had been side-by-side, nor would it be the last). The clock struck 10pm and it was still twilight, the neon from the vendors' stalls would have prevented total darkness anyway. 'The Antichrist' received a polite, not fanatical response. 'Mandatory Suicide' was dedicated to "Freedom, all people who want to be free." As the song ended, the omnipresent smoke again obscured any vestige of the band, undoubtedly similar to a WW I battlefield. 'Chemical Warfare' sees the toxic (waltz) twins reunited, as a lethal pair of old school thrashers. 'Seasons In The Abyss' is Kerry King's baby. It saw the juiced Holt uncharacteristic subdued, almost stationary throughout, while King got a spotlight (literally) to solo. 'Snuff' saw some wicked twin leads, as the end of the proper set. The tell-tale notes to 'South Of Heaven' beckon the encore, completed by 'Raining Blood', 'Black Magic' and 'Angel Of Death'. As is customary, to close BYH, a fireworks display lit the sky. However, this year they paled, nowhere near as bombastic as what had just transpired onstage. In fact, for the first time, reports from the center of town claimed to have heard Slayer onstage!

Check out Mark Gromen's Bang Your Head!!! Festival Day 1 report here.

Bang Your Head 2012 is already scheduled, for July 13/14, 2012. Make plans now!

More photos from Day 2 can be seen here.