DODHEIMSGARD, GOSPEL OF GRIEF, ENSHADOWED

Date: March 11, 2011

Location: Gagarin Club, Athens – Greece

3½ years after their first appearance in Greece, DHG were back to clear any doubts regarding their presence on stage, with only half of 2007’s crowd attending this time though. It is an unpleasant proof that in the era of internet, even old values are outrun in the consciousness of a large part of the public.

ENSHADOWED were given the role of show openers and they stepped up to that with notably better sound that their previous appearance as support for MAYHEM last October. With more and more disharmonic riffs integrated into their already Norwegian enough soundscapes, they were an improved band on stage. However, they still seem to be lacking something that will add uniqueness to their music and live shows, a little bit theatricality maybe.

They were followed by GOSPEL OF GRIEF, a relatively new band that has made a small impact on the local scene with their “Our Symbol Is Death” debut full length. With tracks such as the album opener “Black Origins Of The Universe” they are significantly influenced by early 90s Hellenic blackmetal (ROTTING CHRIST, VARATHRON etc) although they closed  their show with a cover on CARPATHIAN FOREST, something that was met with a brief enthusiasm from the front rows of the crowd. All in all, they were a solid live act, but they need to work on a more personal sound and their vocalist should discard some of his somewhat inordinate poses.

The main event of the night though was the band that provided one of blackmetal’s most unique records ever -“666 International” that is- and never settled their music to specific patterns. Even though nowadays DHG are mostly Vicotnik’s musical vehicle (in contrast to the 1999 all-star lineup), they stood deservingly on stage with a bond between the members that was lacking from their previous appearance. Kvohst obviously more comfortable behind the microphone, was a truly exciting frontman devastating his vocal chords. Blargh on drums was a great surprise, playing his parts with excellent precision. The band’s mainman, mr. Yussaf Parvez aka Vicotnik, was to devoted to his guitar playing, being almost flawless although he was confronted technical problems during the first part of the set.

Opening with “Aa Slakte Gud” from their debut, each and every DHG album was part of the setlist including the “Satanic Art” EP which was represented with “Paramount Empire” (surprisingly!) and “Traces Of Reality” that closed the show in glory. For me the highlight was of course the tracks from “666 International” (“Ion Storm” & “Sonar Bliss”), this time performed as precisely as a track from that album could be performed live. “Monumental Possession” was monumentally performed but the real crowd pleaser proved to be “21st Century Devil” with remarkable sing-along from the fans. Memories came to the surface when a teaser version of VED BUENS ENDE “To Swarm Deserted Away” was heard as an intro to the last track of the night and the show was concluded after about 80 minutes of pure intelligent blackmetal sonic attack.

Instead of an epilogue, I’ll choose to express my despise to all the generic metalheads that attended just because “it’s a band that the press says they’re innovative so we have to listen to them” and afterwards were whining like girls about the “only 80 minutes” and “the sound being not as clean as it should be”. Guess what fuckers, it’s a fucking different experience than your average “children-of-bodom live”, it has to be chaotic and what matters is the feeling and the atmosphere not the duration or how many super-hits you’ll get to listen and sing. So piss of, we don’t need you!

Setlist:

  • “Aa Slakte Gud”
  • “The Snuff Dreams Are Made Of”
  • “The Paramount Empire”
  • “Fluency”
  • “Ion Storm”
  • “Monumental Possession”
  • “Kronet Til Konge”
  • “Supervillain Serum”
  • “Sonar Bliss”
  • “21st Century Devil”
  • “Dushman”/”Vendetta Assassin”
  • “Apocalypticism”
  • “To Swarm Deserted Away”
  • “Traces Of Reality”

~ by antifleshnimbus on April 23, 2011.

 
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