Pix by Dave Rubinich
Words by Will Oakeshott
Happy Sunnudagr!
In Old Norse Mythology this term means Sunday, which certainly became a “FunDay” in Adelaide on this balmy spring evening. Not usually recognised as a thriving night in South Australia, but this reputation was given the “Blood Eagle” treatment as it appears that the combination of Viking, Pirate and Goblin Metal was the warrior chant to gather the Medieval and Metalhead maniacs in mighty numbers.
Canberra’s Beast Impalor are a brilliantly baffling and impressive quartet who commit to their modernised Goblin Metal character so remarkably and imposingly, it does transport their onlookers to another universe. Perhaps landing somewhere between the Star Wars future age but with Dungeons And Dragons as the motif and, of course, symphonic metal. Confused? That is understandable, however, this scribe will wager that the readers’ imaginations are running wild. Presenting themselves with their circus opener Introducing Dr. Makrelmorgue adopting a full theatrical immersion, the four-piece then launch into The Show (Haemo-Goblin, Pt. 1) a Finntroll meets Haggard Awaking The Fallen era marvellous mash up that stirred Jim Henson antics into the boiling pot. Goblin! then combined the heavier side of Trollfest with Winds Of Plague, which was followed by a more symphonic black metal derived number Voodoo Corpse that Bal Sagoth would undoubtedly appreciate. Savage Bear Ambush called upon earlier Bleeding Through in a beastly fashion which set up for the circus metal closer The Encore (Haemo-Goblin, Pt. 2) that inspired goblin jib dancing and breaking the fourth wall of the stage for the band. In short, if one requires some heavy metal soundtrack for their Lord Of The Rings parties or festivals, Beast Impalor are your vanquishers.
From Goblins to Pirates (not that it matters), the building Enigma Bar crowd were already engulfing ale rapidly in the spirit of the event; beneficially, it was Rumahoy who took to the stage and set sail in their buccaneer fashion ferociously.
Masked with balaclavas much like our adored TISM, the Pirate Metal ensemble navigated a stirring set-list that converted even the immeasurably confused to fill their glass with Captain Morgan’s spiced rum. Cowboys Of The Sea suffered some technical difficulties but became its proper anthem that Alestorm wish they had written and this was capitalised by AHOY! awe-inspiringly. Harambe The Pirate Gorilla brought about a Sesame Street element that was undeniably catchy, especially with the Ooga Chaga chant; Treasure Gun was a comical Celtic metallic punk rollick which included a prop treasure gun that the more-mountain-than-man Captain Yarrface engaged the audience with and whipped them into more of a frenzy.
After a metal-pop-disco mash-up with the catchy auto-tune hook Looking For Love recalling Dance-pop outfit Aqua, Rumahoy delivered the ballad Netflix & Yarr which initiated a call-to-arms and enigma bar swayed in its own version of the sea. Time To Party leading into Forest Party escalated the celebration,
however, the climax came in the version of Pirateship, a Rammstein meets The Lonely Island composition, and it incited fist-pumping-fury. With the departure song for the four-piece being the Gilligan’s Island theme, Adelaide – well, Australia was able to recover from the rum-soaked-typhoon that was Rumahoy, albeit momentarily. We will keep our tankards ready for the next pirate party.
After waiting over two-and-a-half years, Faroese Viking Folk Metal band Týr finally arrived at the Australian coastline and for this, the final show, they were not taking any prisoners. Beards had been bloodied and faces decorated with warpaint – the war-cry begun with Hel’s Prelude as the quartet marched on stage; the assault however fired with Blood Of Heroes, the heartening ode to melodic thrash, undoubtedly this was going to be historic. Tróndur í Gøtu, the tribute song to the Viking chieftain of Faroe islands possessed the spirited chant and guitar solos that unified the venue, this was then coalesced with the folk metal version of Ramund hin Unge, a Danish lied from 1600 AD obviously very modernised by the four-piece fantastically.
Mare Of My Night elevated the march of the prior traditional song to a gallop toward battle, and Valkyrja then became the soundtrack of the metallic surge in this metaphorical war.
Hail To The Hammer evoked the great Quothorn with a slow-burning sludge-driven trudge rallying call. Regin Smidur carried on this torch with more vigour, then By The Light Of The Northern Star became the proper initiation of festivities; although for South Australia this had already been embarked upon, aptly.
Evening Star would have had Amon Amarth holding their Viking horns up in glee. Ragnars Kvæði became a metallic folklore tale tremendously, and The Lay Of Thryn then accentuated this with some punk attitude old Norse style.
Sinklars Visa returned to the more traditional Viking folk metal and a moment of reprieve before the sing-along intensity of By The Sword Of My Hand. Hold The Heathen Hammer High was unquestionably the supreme choice to close the long-awaited event, the instruments became weapons, numerous necks neared dislocation, ales were held high and Sunnudagr was celebrated in the best old Norse technique with Týr at the helm.
The endless elation and stage antics of bassist Gunnar H. Thomsen and guitarist Hans Hammer featuring their finesse were wizardry to say the least, the ridiculous rhythm of drummer Tadeusz Rieckmann to warrior levels and the leadership and liveliness of guitarist and vocalist Heri Joensen – this longed for raid became beyond memorable.
In the words of Heri: “Skål” to this victory and in his newly learned Aussie lingo,:“Skål” to us “lovely c**ts”.
