Summer Breeze 2018 - Children Of The Corn The Sequel!

August 30, 2018, 10 months ago

By Mark Gromen with "Metal" Tim Henderson

feature summer breeze heavy metal black death

Summer Breeze 2018 - Children Of The Corn The Sequel!

Held in mid-August, the four-day, southern German event, is oft cited as the end of the summer festival season. If that's true, then why not go out with a bang! Continuing to refine the successful format, offering more bands and better staging, Summer Breeze is no only one of the premier dates on German headbangers' calendar, but steadily a repository for bands and metal fans from across the globe. A quick scan of the 2018 roster reveals acts from North/South America, alongside the requisite Europeans, even Japan. The styles are almost as numerous as the line-up, which kicks off with a reduced schedule on Wednesday, then goes whole hog for three days, showcasing roughly 40 bands daily, from 11 AM to 3 PM. Taking it all in (as well as eat, sleep, socialize, whatever else) is a Herculean effort, compounded by overlapping time slots and traversing the rented airfield with 40,000 or so of your closest "relatives".

Major difference this year is the expansion of the Camel (cigarette sponsored) stage, to include an awning. This is where the emerging bands play and while the shelter isn't protection from the windblown, sideways rain that seemingly appears each Friday, about dinner time, it does offer respite from the unforgiving rays of sun that graced the remainder of this year's festival. The turntable on the main stage restricts the change-over between headline caliber bands to about 15 minutes. Amazing! Wave of the future, VIPs and Artist Area patrons had to go cashless. A chip encoded wristband could be tied to a credit/debit card, or pre-loaded with a cash payment and then every food/drink purchase backstage was simply subtracted from the pre-described total. Probably a year or more before it's rolled out to general public, but the technology is here, now.

Campers are allowed on the grounds as early as Tuesday, and the organizers offer a movie and a band or two to keep such eager arrivals occupied. All takes place on the newly minted Party stage, located within the sprawling campground. BraveWords didn't see fit to venture there at any point throughout the entire weekend. Wednesday is a soft opening, waiting until the afternoon, with just two (of the four) stages offering live bands and Nuclear Blast programming their acts (exclusively) on the bigger T-stage.

Setting foot on the "battlefield" (as the organization calls the infield) a little after 4 PM, it was off to see Bjorn "Speed" Strid and Sharlee D'Angelo, but not like you've ever seen the singer and bassist before, unless one's encountered the hotly touted Night Flight Orchestra. For those of us of a certain age, Night Flight was a weird weekly collection of videos (mostly music) on cable television's USA Network, during the ‘80s. Not sure if there's an intended connection, given the European pedigree within the band, but certainly would have been right at home on that overnight program. Strid is virtually unrecognizable in bright purple leisure suit (think toddler ‘90s TV icon Barney the Dinosaur: "I Love You..."), topped with black beret and matching sunglasses. D'Angelo (who later in the weekend would reprise his role with Arch Enemy) was in white suit, head -to-toe, looking like a Miami Vice castoff. All the funnier when they air "Turn To Miami". To his left was a day-glo green Hawaiian shirted bongo and maraca player. If that visual wasn't arresting enough, there were a pair of female backing singers, dressed like vintage stewardesses. The music is a soothing combination of ‘70s rock, ala Chicago or early Santana, mixed with plenty of synthesizer disco or Michael Sembello soundtrack. Guess there's a whole generation who has never seen/heard it, thus the under 30 intrigue. The singer joked about being at Summer Breeze before (with Soilwork), but never attired in purple. On the title track from the newest disc, Sometimes The World Ain't Enough, Speed hit a high squeal, near falsetto. "Lovers In The Rain" slowed things down. Not my "usual" start to a metal festival.

As if to purify the soul, it was a few beers and pre/post-gig discussions with Canadian icon Maurizio Iacono, whose Kataklysm would level the place. In knee length camo shorts, Maurizio was well aware his outfit had almost the entire crowd (nothing else happening), so he demanded (and received) full participation from a massive throng. One song in, a shirtless guy in a horse head mask breached the photo pit barrier. Iacone shamed the previous gig's circle pit, demanded the crowd surfers make the security guys work and when the music stopped, but people still crawled atop the audience, seeking the barricade, the singer declared Summer Breeze, "Metal capital of the world. No music, but you're still crowd surfing!" After "Narcissist", "As I Slither" was peppered by perpetually flashing white lights, as yellows and purples swept the stage. Heard "Crippled & Broken" as I left the T-stage, "Metal" Tim filming from behind the band, making my way to check out RAM. And below is the first-ever stage shot the band has taken in their entire career! Truly the northern hyperblast afftecting a German summer breeze!

The Swedish traditionalists' catalog has been hit or miss, but never had the chance to see them live. On the tiny Camel stage, there was plenty of flailing hair, denim, leather and, in the case of singer Oscar Carlquist, studs. The better (i.e., faster, more aggressive) stuff, like Judas Priest sounding "Flame Of The Tyrants" drew bigger responses. After a pair of rather lackluster openers (perhaps they were waiting for some people to travel over from the end of the Kataklysm gig), the songs seamlessly segued together, wasting no time, ranging from intense, dynamic changes, ala Mercyful Fate to the lengthy, sole guitar introduced "Gulag", made longer by the crowd sung "whoa whoa" sections. Carlquist dedicated the song to the, "Best thing in the world, freedom." Good to see that old school bangers aren't dead yet. At least overseas!

In the Nineties, Paradise Lost were on the top of the world (only outdone in America, by Pantera), a global phenomenon set to swipe the title from a floundering Metallica. The magnificent Draconian Times would be followed by the shifting focus/misstep of One Second and it would take at least a decade until the Brits righted the ship, rediscovering the atmospheric doom that made them great in the first place. So then, it was a bit of a surprise when the Summer Breeze set (band obscured in an eerie blue/purple mist) opted to all but forego the classic material, until the end. A pair of newbies ("No Hope In Sight" opener and "Blood & Chaos") set the stage, but the inclusion of "Mouth" (off one of their most controversial discs) so early on, was a head scratcher, although some of the post-Draconian albums have recently been reissued. Nick Holmes introduced it, deadpanning, "It's not about oral hygiene." At one point, addressing the crowd he also broke into the chorus of the Seals & Croft song on which the festival is named, saying, "Summer Breeze, makes me feel fine."

PL have never been the most dynamic live act, mostly headbanging in place, relying on the gravity of the music to generate the reaction. The Charles Manson introduced "Forever Failure" is off Draconian, but certainly not one of the energy inducing numbers (unless one counts the outcry resulting from using the madman's soliloquy). Keeping the material to releases from the last decade, only the final trilogy "Shadowkings", always massive "As I Die" and pomp of the "Just Say Words" closer brought the requisite energy (both sides of the divide) as the clock winked towards midnight. In recent years, both Holmes (singer) and guitarist Gregor Mackintosh have split time in underground death metal outfits (Bloodbath and Vallenfyre, respectively) which maybe coloring their perspective for PL. Guys, in a festival setting, where there are many casual fans or more likely, those completely unfamiliar with the entire catalog (if any), treat them to an array of the strongest material. Don't forget long (apparently) lost gems like "Pity The Sadness" or "True Belief" for not only a change of pace, but to demonstrate the great scope of your compositions.

Additional photos here: Day 1.

Hells a poppin', as four stages are in action, for the first time. Plenty (maybe too much) to choose from and sacrifices must be made, even during an 8-to-12 hour shift. First up, Alestorm, inexplicably for the fifth time since February (and a sixth offing destined for ProgPower USA, in Atlanta, three weeks hence!) Essentially the same running order, same outfits and shtick from Captain Chris Bowes, he of the Alestrom kilt and flip-flops. "Keelhauled" is a speedy opener, setting the pace for the madcap mayhem to ensue. The keyboardist (not to be confused with Bowes, who plays keytar all over the stage, even jumping off the riser, with makeshift "guitar") actually starts the gruff vocals for the signature track, begun like a death metal anthem, quickly changing course, thanks to the concertina rhythm. "We are here, to drink your beer" (chorus for appropriately entitled "Drink") is truth in advertising. Perfect festival band: never too serious and love what they're doing.

Behemoth would appear the polar opposite, frontman Nergal, buoyed by defeating cancer and constant censorship legal battles with the Polish church, seems a formidable foe. However, a few hours earlier, he (and the rest of the band) debuted a line of beers (Beer-hemoth?) during a backstage sampling/tasting for media, other bands and industry personnel. Onstage, the freedom to utilize pyro (forbidden in the States) only make the Poles, who have spent a good portion of the last year touring w/ Slayer, an even more potent force. Good to see the song selection has expanded beyond The Satanist (performed in its entirety for most of the last two years), although that disc, peppered throughout, still contributes prominently to the setlist. He walks on, two fiery wands in hand and proceeds with a little ritual, to greet the thunderous "Ov Fire And The Void". Nice to see "Demigod" return and at #2 in the running order! Plenty of fire, shooting not just vertically, but diagonally, across the stage. By "Conquer All", the frontman/guitarist had vacated the double-headed snake podium which had kept him partially hidden during the initially trio of songs (when photogs present). There he was, stage right, laying down the riffs. Next up pyro enhanced, still unreleased "God=Dog", the cowl wearing guitarist's vocals delivered in a robotic monotone, as he seemed to measure the response as much as revel in its construct. Shorter than most, "Decade Of Therion" is virtually non-stop strobes, while longstanding, barked lyrical "Slaves Shall Serve" is met like an old friend. Ditto the rhythmic bludgeoning of "Chant For Eschanton 2000", conflagration set to music.

Powerwolf remain an enigma on these shores. Despite a half dozen studio albums, including a #1 in their native Germany, for just issued Sacrament Of Sin, the religious obsessed werewolves are destined to be a world power. They already have a first class stadium level stage show, complete with fire, ramps, multi-level stage, hooded monk/minions, backdrop changes, etc. And with each success, the cult and clamor for overseas concerts increases, exponentially. Second time in as many months witnessing this spectacle, although now with twice as large a crowd. "Blessed And Possessed" treats the multitudes to more flames than a Spielberg war epic, followed up by green lit "Army Of The Night" sing-along. Blue tinted "Incense & Iron" precedes red bathed "Amen & Attack" where short haired, choir boy/ keyboardist Falk Maria Schlegel, with little to do, runs down two levels, to stand alongside and air guitar with the Greywolf brothers. Attila Dorn has the crowd practice their "whoa whoa" refrain, prior to beginning current single, the tongue-in-cheek, Ghost sounding "Demons Are A Girl's Best Friend". Strobes aplenty during "Dead Boys Don't Cry", as Dorn retreats to mid-level altar.

The field in front of the main stage is so packed, many just sit on a piece of Earth, elsewhere on the grounds, and watch Powerwolf on the Jumbotron simulcast. A few venture to "see" Celeste on the Camel stage. In complete darkness (i.e. no stage lights) each guys has a red miner’s headlamp, for the only illumination. Add copious amount of smoke/stage fog, it looks like a trio of random LED dots! Meanwhile, Powerwolf are only about half way through a 90 minute set, Dorn singing "Let There Be Night" from atop the flaming altar. Liturgical organ launches "All We Need Is Blood", the fans punctuating the "blood, blood, blood" chorus. Rarely is a choir of 30,000 (more?) voices so simple and effective. Two personal favorites are back-to-back, the double entendre "Resurrection By Erection" and "Sanctified By Dynamite", the latter not quite as explosive as the title suggests, but no less fiery, as plumes are airborne throughout. Guess the color/lighting choice during "We Drink Your Blood"? More crowd participation, come the titular chorus, as flame cannons repeatedly ignite across the front of the stage. Hooded monks re-lit the stone altar for the "Lupus Dei" finale. More liturgical organ (never too far away in Powerwolf music), as a pair of giant flames shoot from the top of entire towering structure, like an offshore oil rig suddenly compromised. On paper, the divergent elements shouldn't work, but do so, gloriously and are damn enlivened by stagecraft. Don't miss any opportunity to see the band onstage, live or on video.

Prior to Cannibal Corpse’s beyond crushing set, “Metal” Tim had the honour of meeting drummer Paul Mazurkiewicz’ father who has been travelling with the band this summer following the tragic death of his wife. “Paul junior and senior and I chin-wagged about life on the road and watching a son rise to heavy metal fame, performing some of the most extreme and controversial music on the planet. Senior still lives in the Buffalo area where Cannibal Corpse planted their deadly seed. So we were privileged to watch them from the stage as they shredded through ‘Code Of The Slashers’, ‘Scavenger Consuming Death’ and my newly-crowned latter-era brilliance ‘Only One Will Die’, all from Red Before Black. The ultimate camaraderie between Mazurkiewicz and bassist Alex Webster is more mesmerizing when you are 6.66 feet from them on stage, while guitarists Pat O’Brien and Rob Barrett are supreme masters of the violent riffery! Singer George "Corpsegrinder" Fisher menaced through ‘Evisceration Plague’, ‘The Wretched Spawn’ and brutalizing ‘Pounded Into Dust’, while ‘Make Them Suffer’. ‘I Cum Blood’, ‘Stripped Raped And Strangled’ kicked off the Barnes-era finale. Of course the obligatory closure is the once-banned in Germany, ‘Hammer Smashed Face’. Not sure what hurt my noggin’ more the next day; the liquids or the headbanging!”

It might be a quarter to 1 AM, but a night of death, religion and corpsepaint could only be culminated by a few songs from Marduk. Kicking off with "Panzer Division Marduk", on a darkened stage highlighted only in blue, green or purple, the Swedes tore through each song, almost scornfully oblivious to their being an audience. Warning sirens call to arms "Werewolf" (seems to be a theme tonight!), the foursome cloaked in a pea soup fog and purple hue.

Additional photos here: Day 2.


Been a few years since witnessing Tankard, not that the Frankfurt beer drinkers have changed much. Honestly looks like rotund frontman Andreas "Gerre" Geremia has lost some weight (seriously!) and the most recent One Foot In The Grave was the strongest in decades. Simon & Garfunkel's "El Condor Pasa" (better known as "I'd rather be a hammer than a nail") wafts through an empty stage and as the first verse ends, the Germans storm the stage, with the title track from the aforementioned disc. Constant motion is the name of the game, back and forth across the name of the game, Gerre pausing only to lift his shirt and pound the mic off his blubbery stomach. They would later offer "Pay To Pray" (about how money corrupts churches) off the same record, but otherwise, pretty much a greatest hits/festival approved set. "The Morning After" see mainstay bassist Frank Thorwarth running in place, when not part of the triple headed zig-zag race around the stage. The oft repeated titular phrase is nearly the sum total of "Zombie Attack" lyrics, the oldest tune aired, as Gerre seemingly embodies the creature, endless stalking both sides of the stage. Music need not always be devoid of fun and Tankard not only enjoy what they do, but make sure others are having a good time too. Ending with "(Empty) Tankard" reminds it's time to top off. Glad to become reacquainted, but sadly an entity that few outside Europe will ever get to witness live. Shame.

Bring out the rain gear! Sheets of rain were visible, coming across the plains as Doro took the stage. Sure enough, even before the diminutive singer made it onstage, just as the makeshift line-up (minus mainstays Johnny Dee on drums and guitarist Bas Maas) launched into "Earthshaker Rock" the power went out. Took five minutes to fix, then restarted, augmented by flame cannons across the front of the stage. During the interim, the lighthearted audience was heard chanting "noch ein bier". Bassist Nick Douglas later informed BraveWords that a rainy puddle, of growing width, amassed on his side of the stage. Water & electricity don't mix, but didn't dissuade the Metal Tigger's usual bouncy performance. Despite the deluge, "Burning The Witches" was still call and response, augmented by alternating 4 vs. 6 flaming smokestacks. More action around the stage for "East Meets West", former Waarlock guitarist Tommy Bolin (who will also be w/ Doro, in the USA) playing up a storm. Couldn't tell if it was sweat, or rain, but the guy was soaked by show's end. About half way through, the rain let up, but not the blonde powerhouse (who spoke in her native language for most of the evening), debuting speedy "Bastardos", off the new Forever Warriors CD. Luca Princiotta (to be substituted for, Stateside, by Chris Caffery) and Douglas both add keyboards to the ballad, "Fur Immer". Fist thrusting "Hellbound" gets the body moving, warming up the water-logged. More call & response, for robust "All We Are" finale.

For safety, photographers were barred from the opening Arch Enemy number, "The World Is Yours", due to repeated blow-torch eruptions from the front of the stage. Once permitted on the platform, they were into red lit "Ravenous", a big number that once upon a time existed in the latter half of the set (if not the encore), followed by another biggie, "War Eternal". Make no mistake, this is firmly Alissa White-Gluz' outfit, commanding the stage as a new age heroine, barking out lyrics and pin-wheeling her blue hair. The band were without Jeff Loomis, replaced for two gigs by Joey Concepcion. Stage right, Mike Amott and Sharlee D'Angelo played off one another. Would love to have some sort of payday attached to the number of strobe flickers...would be huge! Makes no difference that the amassed throng can't she Alissa's little hand motions, the pair of Jumbotrons that flank the main stage show everything in real time, thanks to a trio of Rockpalast cameras. Eerie green during the torturous cries that commence "My Apocalypse", a slice of modern metal that sees the singer instruct the crowd to jump in place. After the guitar virtuosity of "You Will Know My Name", red fog shrouds the stage for violent "Bloodstained Cross", White-Gluz kicking things off with hellish bellow. Add a few columns of fire, for good measure. Speaking of which, a series of small blazes stretch the width of the stage, as "First Day In Hell" begins, then they add 30 foot fiery spikes behind the band and compressed carbon dioxide eruptions, seemingly from everywhere. "We Will Rise" completes the proper set, the band coming back to give Concepcion a short solo as well as leaving on an old school note: "Nemesis".

First thing noticed when preparing to photograph Satyricon (apart from the keyboard/computer operator, on his own riser, opposite the drums), was the absence of the giant pointed tuning fork from which Satyr likes to hang. Instead, there was an interwoven mic stand, seemingly designed by some demonic Giger horticulturalist. No matter, the stage was icy blue as the Norwegians take their place to an intro of symphonic strings, prior to "Midnight Serpent". Know the frontman/founder has had some health issues, but can't get past the Bowie, Thin White Duke look. Flashing strobes, green light and almost groove (compared to its surroundings) for "Black Crow On A Tombstone". Satyr even gets the crowd to offer the titular chorus. Bullet belted drummer Frost kicks off "Diabolical Now", which also features piped in choir of (angelic) voices. Horns up in the crowd as Satyr parades the twisted branch around, pointing the mic towards the fans on "Mother North". The haunting speedster is accompanied by blackened stage enlightened by an endless array of pulsating white strobes. The mainman straps on guitar for "The Pentagram Burns" and keeps it through "Fuel For Hatred". As with the last couple of times I've witnessed Satyricon, "K.I.N.G." closes things out.

Check out more images here: Day 3.

Arrived on site to Feuerschwanz on the main stage, a sea of inflatable plastic swords near the front of the crowd, as the German language folky power metal went over a storm with a huge number of Summer Breeze attendees. While not familiar with the band's catalog, onstage, there was a singer in chainmail, a female violin player, an electrified mandolin and fife, as well as more traditional metallic instrumentation. They crank out folksy medieval chant-alongs (provided you know Deutsche!).

Would seem a stretch, but then look what Korpiklaani, up next on the biggest platform, have been able to achieve. Unlike 70K cruise, bearded and barefoot bassist Jarkko Aaltonen (should be in the Oak Ridge Boys, with that get-up) was back, alongside the accordion player and all-in-white, top hat wearing fiddler. Dreadlocked frontman Jonne Järvelä wore a fringed, buckskin jacket, fringed black pants and a broad rim black cowboy hat (ditto the hat, for guitarist Cane). Incorporating a backdrop that depicted a wheat farm on the new Kulkija disc, the Finns are renowned for bringing the party and stirring up a good time, so sort of surprised by the moody, laidback nature following the initial "Wooden Pints". Regardless, fans jump around to the humppa melodies and an armada of crowd surfers, pumping fist and singing along (many in costume) as they're passed overhead, virtually from the first note. The English language "Man With A Plan" gets the joint jumping again. Cane took a seat throughout the mournful "Kotikonnut".While all the band members move about throughout the show (fiddler dancing in circles), Järvelä rapidly skips about the stage during "Metsämies". Everyone is waiting for "Happy Little Boozer", but it never materializes. Instead there's "Beer Beer" (introduced by the singer, saying, "Germany, pretty sure you guys know something about beer. This is a beer country!") and usual closer, "Vodka". Not a good idea to mix the aforementioned, unless in song!

Metal Tim and I were discussing what would be in the Dirkschneider setlist, given Udo's pledge to retire the Accept catalog, but this was not an U.D.O. gig and Stefan Kaufmann had been drafted to help on guitar, so it wasn't a surprise when "Metal Heart" was the first number, the crowd singing the guitar melodies. Like the last two world tours, wearing an army fatigue jacket, the Little General directed, point, stuck out his tongue (puffed out his cheeks) like a silver haired metallic Elmer Fudd throughout a first class repertoire of vintage Accept. Most were written/recorded before the majority of this audience was even born! Regardless of generation, crowd sang almost every word, tunes like "Living For Tonite", “London Leatherboys" and "Midnight Mover" (in succession) have seemingly been subconsciously planted in the German DNA.

Four across the front for "Breaker" which is followed by Kaufmann begun "Princess Of The Dawn". As the song progresses the band gets softer (regressive?) until it's just Udo out front, pointing the mic to the audience, who oblige with "whoa whoa" chant. Seamlessly segues into "Restless & Wild", Stefan up front as Udo sings the first word as the band and crowd answer, in unison, "Wild". Inclusion of "Son Of A Bitch" is a surprise (guess the old guy likes talking dirty), but not quite as unexpected as "Screaming For A Love Bite". Riff happy "Up To The Limit" and speedy "I'm A Rebel" close out the proper set, returning for the requisite encore. Udo get the crowd to sing the Tyrolean intro ditty (accompanied only by son Sven on drums) to "Fast As A Shark", before ending with "Balls To The Wall". Great any time, but the frontman loosens up at home, positively gabby, compared to chatter on North American tour.

Kadavar sees guitarist/singer Christoph Lindemann in a monitor bunker, surrounded on three sides by wedges, as he rocks out. The trio of bearded longhairs, in vintage ‘70s attire lay down a fuzzy, reverb hard rock vibe that gives the wah wah pedal no rest, beginning with "Creature Of The Demon". Other standout include "Into The Wormhole" and infectious chorus "Die Baby Die". In October, they will release Live In Copenhagen, to discover what it all sounds like live.

Over the last couple of years Blackie Lawless and W.A.S.P. have had to endure accusations of repeated tour cancellation and the frontman's religious conversion that apparently makes one of their best known numbers off limits (but "On Your Knees" is acceptable?). Then, when they do play, there are complaints about abbreviated festival sets (not this time!), too many cover songs (versus originals) and rumors of playback tapes. Regardless W.A.S.P. still have a potent musical library and augmented by this fantastic, world class light show, remain highly enjoyable. Warning sirens and red tracer lights sweep the stage as a shortened "On Your Knees" opens, melting into "Inside The Electric Circus". Blackie is pretty immobile behind the mic stand, where he will spend much of the evening. In fact, he typically sings, saunters backwards, musses with his hair or points (to crowd or bassist Mike Duda), then struts/ambles back to the mic, for the next set of lyrics.

Green lit Who cover "The Real Me" is up "third" (given the abbreviated versions before it). A sing-along "L.O.V.E. Machine" is accompanied by lots of stage fog and strobes, ultimately ending with stage front flames shooting skyward. Watching live, they are shadowy figures onstage, with lots of backing vocals. Watching on the Jumbotron, it's all rapid fire interplay, looking more like an MTV video than live performance. "Crazy" wouldn't be considered essential W.A.S.P., as the middle of the set steps away from classic ‘80s. The lengthy emotive (ballad?) "Heaven's Hung In Black" kicks off with the stage sparsely lit, in deep purple hues, as a protracted symphonic rendition of "When Johnny Comes Marching Home Again" sees only Lawless visible. As it builds, there are pulsating fireballs and near the end, a shower of spark rain down. Throughout the night, when not adding his voice, Duda spins and buckles like a steer at a rodeo. Swirling yellow lights and repeated pressurized carbon dioxide eruptions greet strobe dominated "Chainsaw Charlie (Murders In The The New Morgue)", where the two guitarists come face-to-face, center stage. During "Wild Child", Blackie makes a rare foray to stage right. No "Blind In Texas" (not unreasonable, given the European location), ending with sing-along "I Wanna Be Somebody" instead.

While Katatonia rises above the heads of most, Anders (Blakkheim) Nyström’s alter-ego continues to rise with the addictive sound of classic Swedish death metal, reminiscent of the early Entombed, Grave, Dismember material. Although the band didn’t debut anything from the upcoming The Arrow Of Satan Is Drawn, (out via Peaceville on October 26th), we still bathed in a memorable set of blood-soaked gems like genius opener “Let the Stillborn Come to Me”, “Breeding Death” and “Cry My Name”. Grand Morbid Funeral is still a work of art to the BraveWords faithful, so it would’ve been nice to hear “Famine Of God's Word” or “Unite in Pain” instead of “Anne”. And to these ears, Old Nick (Holmes) vocals were a bit down on the mix. But the face-painted band were vibrant on stage, thrashing around like the thousands in front of them. Can’t wait to be in league with Satan in October!

More photos here: Day 4.

Have a whole year to make plans for attending Summer Breeze 2019. Hope to see you there!

Top shot courtesy of Summer Breeze.

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