Words by Will Oakeshott
Pix by Dave Rubinich
“Heaven Is Burning” bellows vocalist and maestro Attila Csihar of black metal royalty Mayhem during the quintet’s opening song Falsified And Hated in front of a sold-out crowd at Lion Arts Factory.
As powerful as these words are, they also encompass a rather caustic integrity. The event which took place on a Sunday, which for most observant adherents of Christianity is recognised as “The Lord’s Day” – a day of worship and rest was to be far from the first and latter of that definition. Worship, as is well known of the Norwegian outfit was directed more toward Satan in earlier material and in more recent times, the darkness more than the light. Rest was opposed, in reality unrest would be more suited in the most delightfully dark intensity the refurbished venue had arguably seen. Heaven Is Burning – in reality the entire venue was from all three brilliantly barbaric bands featured on this night; and all involved were left with a cloak of ash in amazed astonishment.
With a line-up that wrapped around the entire venue onto the pathway of one of the main streets in the Adelaide CBD, entrance in time to see Werewolves begin their attack on their prey (being the Adelaide audience) was a mission in itself. Upon entry, the wave of heat that blasted patrons was intensified by the vicious bark, snarl and howls of bassist Sam Bean’s monstrous voice. Sublime Wartime Voyeurism was magnificently murderous, blending moments of technical death metal, grindcore, black metal and then into post-black metal realms in under four minutes – never have the lyrics: “My Piss Is Radioactive” seemed more suiting with the mutant level of this track. No More Heroes utilised the best parts of extreme metal monarchs Behemoth blended with The Black Dahlia Murder (Rest In Power Trevor Strnad) and to close, the blackened death thrash goliath I Don’t Like You that provoked the fist pump sing-along between neck dislocating whirls from the onlookers. It is near impossible to believe that Werewolves are a trio with the powerful metallic pandemonium they generate, but with the majesty of guitarist Matt Wilcock and devastating drumming of David Haley included, their pack could lay waste to any audience.
New Zealand’s Ulcerate had the distinguished honour of undertaking the main support role for this entire tour and the three Kiwis were here to leave a disturbing lasting memory, similar to looking into the burning coal eyes of the Cosmic Demon Wolf Carcharoth from Lord Of The Rings.
If one had to visualise the devastating avant-garde extreme post-metal Ulcerate spawn – a documentary featuring Carcharoth roaming the mountains and valleys of New Zealand (or Middle Earth) would be a worthy conception. Red lighting dimly illuminated bassist/vocalist Paul Kelland, guitarist Michael Hoggard and the colossus percussionist that is Jamie Saint Merat as they morphed Lion Arts Factory into the universe where the demon wolf existed, the hunt was on.
Roaring thunderous blares and growls overtook the atmosphere with a ferocity that was more felt than heard like an unsuspected mauling from the predator, this was then effortlessly but still impossibly transformed into a ravaging refinement as if observing the creature gracefully galloping the steep mountains and navigating deep ravines. It wasn’t of this galaxy, however, it was enrapturing. The sound Ulcerate demonstrate is befitting to Middle Earth, volcanic eruptions, wild seas and dangerous terrain; although the soulfulness of the exhibition is mesmerising. If Gorguts were to collaborate with This Will Destroy You this could be nearing the brutal brilliance Ulcerate craft; truthfully though, it just needs to be experienced.
As aforementioned, Norway’s Mayhem are lyrically and musically inspired by darkness, so for their unveiling it was more than suited this is how the five men were paraded before their ceremony begun. For those who have not witnessed the founders of Norwegian black metal, it must be understood that their performance is not a concert, more a ritual. An unnerving elegance of brash, grim and hypnotic blistering metal that engages every sense in an addictive fear to the observers. Essentially this is a thrilling theatrical horror that is awesomely astounding.
The curtained flags had been unfolded, the mammoth drum kit was exposed which was so imposing that percussionist Hellhammer was practically invisible, his virtuosity, however, was magnified. The composer of sorts, Attila was in heroic hysteria and his combatants Necrobutcher, Teloch and Ghul were bloodthirsty for devastation. So it commences…
The quintet tore through a vast array of songs spanning their entire career, classics such as: Freezing Moon and Pagan Fears to Bad Blood and Malum – the 15 song set providing a full cinematic experience which had Adelaide enthralled. The energy and tension was indescribable, the aura of the DEMONstration was on knife’s edge, imbalanced and dangerous yet so compelling. Mr Csihar maintained his known lunacy using props such as bones which he shaped into the upside-down cross, performed needle injections with, sliced his and band members’ throats with and acted out gunshots also. A noose became a playful prop that was swung around as well as the famed skull which he screamed, spoke, throat sung and squawked through. It had to be seen to be believed – if one could imagine Beetlejuice and the Joker understanding how to be playful torturers, then being outperformed by the frontman of a black metal band, this is what Attila accomplishes.
Costume changes occurred, the curtained flags changed, some featuring the past members who had passed and the stagecraft incredibly intensified. Pure Fucking Armageddon concluded the ceremony which had then transported the crowd to a lightless shadow world that had a peculiar calm once it had halted. Nevertheless, The Everlasting Dying Flame of Mayhem is Cursed In Eternity inDEADtedly.
