Review by Paul H Birch, photographs by Phil Piskor.
Onstage is a female-fronted symphonic metal band, and if that’s not your cup-of-tea you’re in the wrong place tonight. Their name is Catalyst Crime, and as their vocalist, Zoe Marie Federoff, will tell us a little later in their set, they come from Canada, Brazil and other shores collectively; ending up here tonight for what I gather is not only their first ever gig in Britain, but first tour anywhere. Leaves’ Eyes Alexander Krull has produced them, thus a likely reason for their appearance on this tour. You don’t see the crowd complaining.
Their music proves quite catchy, intense at times ready to spearhead into death metal were it not for Federoff’s operatic voice flowing suitably while capturing melody. Blond, she’s dressed in a black corseted dress, the only colour option allowed for singers tonight. They’re also the only band on stage tonight with a keyboard player, all others opting for offstage use or more likely backing tape arrangements. Their bass player will also share some vocals, and their tattooed rhythm guitarist doing much to involve the crowd while their lead guitarist focusses on playing; shyness could be a factor but her long dreadlocks start swinging about as she finally gets in the mood during their last number. Standouts include ‘Condemn Me To Chaos’; an interesting melding of Within Temptation to Jethro Tull folk rock-isms and the set-closer semi-epic ‘Cursebreaker’.
There are two drumkits on stage, one reserved for the main act. Four bands requires quite some turnover on stage, and it’ll become apparent band members are involved in what’s no doubt a necessary cost-saving exercise to make such tours economical. British exposure presumably still counts internationally, and why we’re proud to be part of that in our own small way. That said, there look to be some concerns about change-over times, and confusion in the audience about running order, as Sweden’s Metalite is up next.
Their stagecraft poses primed as guitars ignite, with a punch of her fist Erica Ohlsson shouts out “Away we go!” as they launch into ‘Disciples Of The Stars’. It pumps hard, the electronica-styled metal you’ll find on their records less prevalent tonight. “Take my hand,” sings Ohlsson and as I gaze spellbound; raven-tressed, her black catsuit slashed strategically across the legs, small chains hanging here and there, she’s like the Emma Peel of my very early youth recast as a badass for Marvel’s Avengers movie franchise. Fortunately for those here solely for the music, she can also sing well, albeit she had to request the sound mixer make some tweaks along the way.
Much of their too-short set features tracks from their latest album, Expedition One, and they’re up tempo with the band themselves lively throughout; thematically it’s a fun-packed rocket ship ride with ‘Cyberdome’ and ‘Blazing Skies’ featuring particularly nifty-but short guitar solos. With final number ‘We Bring The Stars’ there’s an Abba-like production quality grafted to some hefty rock that builds to a thunderous conclusion and much applause.
As with all bands tonight, they kneel facing Leaves’ Eyes drum riser as a photographer captures them and the crowd. The place is not heaving it must be admitted, but those present are fully committed, appear to be know songs from all the acts; singing along, pumping fists and clapping along when each band cajoles them to, as do the bar staff. The audience is a mixed age-range, young and old, and all sexes. There are also a lot of denim jackets, all black ones, adorned with countless band name patches, giving the impression they’re going to spread the word about this evening resulting in more intrigued fans when next these bands return to these shores.
Amid a fanfare of music NorthTale take the stage. Only a four piece, save those offstage effects, their singer’s decked out in practically the same outfit as Ohlsson’s, save where hers was a faux-leather tight spandex affair, his is most likely cotton. A little snooping round the internet later will inform me he’s Guilherme Hirose. He resembles Thor, that Canadian bodybuilding heavy metal singer who got a lot of photo coverage back in the ‘80s, but whose music rarely got heard. The blond bloke on stage is from Brazil and he knows how to hit high notes and hold them. He’s not the band’s first singer, and if I heard right, the guitarist here tonight’s filling in for their regular guy who’s on tour with Doro Pesche – This one’s an impressive shred player, but whatever I wrote down that paraphrased his name now looks undecipherable.
They’re more prog metal come melodic rock in style. They take some adjusting to initially, possibly because there’s a bloke singing, and also – like the guy next to me – Having queued outside to get in, I presumed Northtale had come on first and we’d missed them, and was now expecting Leaves’ Eyes, and since Hirose hadn’t got the right bust line it took a while to catch on. That’s not a problem for those down the front singing “Everyone is high!” and jumping like Tigger in unison with the band.
After the band has had their group/audience photo taken there’s some minor stage construction going on alongside dismantling of the guests’ drumkit. As lights dim and war drums beat out over the PA, alongside the occasional blood-curdling scream, I feel we’re about to feel the full metal onslaught of some Viking rock with Leaves’ Eyes. As it is, we get a couple of guys dressed in chainmail, helmets, massive shields and swords that don’t entirely look like props. They stand either side of the stage and beat their shields with the hand weapons, the audience join in, clapping along. I get the reasoning, and it’s working, I’m just thinking this could all get a little too cheesy for me, and wondering if I’ll stay the course.
As a roar goes up, amid billowing smoke that rises skywards, I see a guy manoeuvring himself onto the remaining drumkit, longhaired and topless; more males follow, some looking like extras from the various Viking-related TV series that have hit our screens in recent years, save their axes are of the six and four string variety. They’re followed by a veritable, bearded giant striding on stage, “Hello, Birmingham!” he calls out warmly, more in the manner of Hagrid from the Harry Potter films, than some wicked frost giant. Guitars roar out and as one they rise to the attack – presumably now standing on monitors – amid wafts of still rising smoke and flashing lights. Not as twee as I feared, and there, as if by magic, this German and Norwegian war-band has been joined aloft by Finnish singer Elina Siirala.
Once more I find myself reflecting on a youth not so misspent and consider how she resembles a young Haley Mills, though I can’t recall Sir John letting his daughter wear black leather hotpants, with colour-coded boots and top to match. My thoughts now on the work at hand, I ignore the fact I’m still a warm-blooded heterosexual, and simply consider how readers will appreciate the various photos being taken tonight. ‘Death Of A King’ shifts into the euphoric ‘Chain Of The Golden Horn’ and I’m immensely impressed with Micki Richter – It appears many of the Celtic jigs and similar I’ve heard on record and presumed traditional horns or pipes in fact emanate from him; he has a unique texture and tone to his guitar, is a classy player too and you wouldn’t mind him extemporising his actual solos further.
Meanwhile, that giant has been roaming the stage, sometimes lost amid the mists of Niflheim, next towering before us bellowing in a death growl grunt. This is Alexander Krull, the band’s chieftain if you will. Now, I’ve never been a fan of that death metal schtick for mimicking Linda Blair’s demon voice in The Exorcist. Yet, again, tonight, I find myself pondering that what I previously conceived to be camp grand guignol may have its merits. Initially, I haven’t a clue what Krull is going on about, and he could be mumbling in his native tongue or talking utter garbage for all I know, but I realise it’s got a rhythmic deep resonating melody to it, and that helps ensure the musical bandwidth is broadened in what can be a limited palette within symphonic metal, later I also gradually grow accustomed to what he’s actually singing about.
“We’re here in Birmingham – What a pleasure!” he declares, and both his cordiality and delight seem genuine, for many more such hearty platitudes will be expressed as the evening wears on.
‘Hammer Of The Gods’ begins with bluster and fist-pumping shouts of “Hey! Hey!” but it also feels like a more symphonic ballad form of the song than on new album Myths Of Fate, the Valkyrie-like Siirala’s voice strong and operatic in a compelling, appealing manner. As it builds towards an epic climax, much as you’d swear there were bagpipes or offstage sound effects when you look towards Richter you appreciate it’s him and his guitar at work. If there’s a problem, it’s that so much is often going and you’re never quite sure where to look – I only realised those shield-pounding Vikings had vanished several songs in, everyone’s prone to jumping on the front-of-stage monitors (at least I presume it’s those, I never noticed any actor’s boxes being lined up), running about or throwing shapes, and I can’t help watching Siiralas because she’s more than easy on the eye. “We sail tonight!” she calls out as the heavy sea shanty of ‘Across The Sea’ billows out, Krull and the guitarists jumping up and down as happy as Larry with more fist-pumping, and all such actions being reciprocated by a totally committed audience down the front.
‘Serpents And Dragons’ flits between raging metal and sweeter AOR, Krull’s unclean voice (as it’s been credited on record) fitting surprisingly well by way of contrast, ‘Edge Of Steel’ is a battle hymn climaxing with the room clapping its collective hands above their heads. Premiering ‘Who Wants To Live Forever’, its swaggering groove moves at a less frantic a pace, allowing Siirala’s voice to shine, before concluding anthemically as they cry out “Oh-oh-oh!” amid chords crashing down.
With little explanation, save for drummer Joris Niienhuis, they leave the stage. Interval or drum solo, we wander. As the Vikings reappear to prowl the stage, we realise we’re in for some swordplay, and much as its choreographed they sure belt those shields. The group return for ‘Sign Of The Dragonhead’, featuring another searing solo from Richter.
“You like the new songs?” asks Krull, and the response tells him a good many have purchased copies of their latest album. ‘Realm Of Dark Waves’ has my right foot tapping while a wave of bopping heads sway sideways before me. Krull’s deeper intonations mesh well with Siirala’s operatic angel intonation here. The singer expresses how “frightened” she was about playing live after covid, but how pleased they are now to be back doing so. Next up, is “a true classic” the ambient folk ballad ‘My Destiny’, despite which they’re soon jumping up and down again, giving those monitors a good seeing too, and that’s rather apt for the heavy jig that follows as ‘Swords In Rock’ tips its hat respectfully to both The Horslips and Big Country while stepping heavily on the distortion pedal.
Krull taps his mic, and calls out “Hey!” before proceeding to lead a mini-folkmoot assembly, expressing the ties that bind us. It transpires Siirala lived on these shores for 10 years, he notes how heavy metal was born here, and in this town. That we need to stick together “like a metal family” in this unpredictable world we find ourselves in. All this and more.
With everyone’s hands raised skywards once more, Krull scowls out ‘Hell To The Heavens’ betwixt Siirala pleading to Hecate against becoming a sacrifice, or at least that’s how I interpret this chugging power chorded mantra. Either way, everyone up stage looks like they’re having the time of their life whether they’re due for the chop or not.
“Let’s go back in time,” entreats Krull, as he recalls how Norse explorer Leif Erikson crossed the Atlantic Ocean, to discover Vinland, later christened the US of A, before they launch into ‘Farewell Proud Men’ with a surge of swaying riffs dancing briskly as choral-like vocals come from offstage, while buccaneer-like Siirala with one leg astride the monitor, her arm outstretched before her as if seeking land, sings of the epic journey made, before an instrumental section becomes all encompassing. Once more, I consider they should allow themselves greater musical detours. But I digress, and Krull wants to share his own thoughts with us again. “Hail to England! Our family in metal!” he begins, and by now I’m smitten by the guy’s big friendly attitude. I do however sense that the end is drawing near, not least because those Vikings are back, and slowly, with a sense of orchestral mystery being played, heavy guitars dig in, Siirala’ voice casting enchantments as she sings of how the dwarves made the demon-sword Tyrfing as we’re delivered tonight’s final number in ‘Forged By Fire’.
As Leaves’ Eyes instrumental ‘Galeids Of The Vaeringjar’ plays over the PA, they gather for a group photo as has been tonight’s tradition. Then, Krull standing before us, speaks one last time: “Thank you so much,” he says expressively, pounding at his heart. “Good night!”
What an evening, both bonkers and beautiful. Four similar but different international bands giving it their all. In a world where we’re often left to feel that Europe and beyond hates us, even as try to just to see the day through on an island more splintered than ever, music can sometimes pull us together. And indeed, it often takes outsiders to remind us just how special we are, and to be proud of our rock heritage, here in Birmingham.
Setlist:
Intro – Death Of A King
Chain Of The Golden Horn
Hammer Of The Gods
Across The Sea
Serpents And Dragons
Edge Of Steel
Who Wants To Live Forever
Sign Of The Dragonhead
Realm Of Dark Waves
My Destiny
Swords In Rock
Hell To The Heavens
Farewell Proud Men
Forged By Fire
Outro – Galeids Of The Vaeringjar
