Review: Enslaved/Grand Magus, Marble Factory

Supposedly yet another metalcore band, energetic Bristolian opening act Heaven Asunder prove more impressive than that restrictive genre usually permits and rock some serious beardage. With one exception. Their lead guitarist looks as though he belongs in another band entirely. One can only imagine the rehearsal room arguments:

“Can’t you lose the emo hair and grow a proper beard like the rest of us?”

“Listen – I’m your best musical asset. My follicular arrangements are my own business!”

As metal continues to fracture into an ever-increasing number of bizarre and preposterous sub-genres, only a handful of bands can fit comfortably on any bill. Sweden’s Grand Magus are one such band. That’s because they trade in what we might term tribe-uniting Proper Heavy Metal. There’s no fannying about with such nonsense as alt-metal, hipster metal or ‘post-rock’ with these guys, who conjure up a massive sound for a trio. Frontman JB is a powerful bellower in the Halford/Dio vein, coaxing enormous riffs from his Flying V, while bassist Fox Skinner’s death metal influences surface in occasional harsh vocals. Band anthem and motto Iron Will is every bit as sturdy as its title suggests. Ravens Guide Our Way boasts a riff that can be radiocarbon dated all the way back to Uriah Heep’s Gypsy. And the magnificent When the Oar Strikes the Water is marred only by Ludwig Witt’s superfluous drum solo. They seem genuinely overwhelmed by the ecstatic audience response, prompting a huge singalong during closer Hammer of the North, which benefits from JB’s positively Gilmour-esque guitar solo. Good job this was billed as a co-headlining show or Enslaved might have felt justifiably nervous about being upstaged.

Enslaved received a warm welcome from the Norwegian Embassy when they pitched up for a string of UK gigs this week. Can you imagine, say, that great cultural export Iron Maiden being similarly honoured by any overseas British Embassy? Thought not. For a band with roots deep in extreme metal, the Nordic veterans operate in a haunting and hypnotic epic widescreen soundscape. That’s mainly because they’re increasingly giving vent to their prog influences, permitting Herband Larsen to shine – despite being tucked away behind his bank of keyboards at the back of the stage. Pitched high in the mix, his sonorous vocals contrast powerfully with the more guttural black metal style of frontman/bassist Grutle Kjellson, who’s flanked by gargantuan guitarist/co-founder Ivar Bjornson and more recent recruit Arve Isdal, who handles guitar hero posing duties. The set draws on all stages of their lengthy career, highlights being Fusion of Sense and Earth and the title track from the Ruun album, and Death in the Eyes of Dawn from Riitiir. In Times, Enslaved’s latest release, yields the likes of Thurisaz Dreaming and Building with Fire, which continue their venture into the outer limits of the prog realm.

Cato Bekkevold uses every part of his gargantuan drum kit, so it’s a bit of a disaster when the pedals expire, leaving Kjellson to attempt a stand-up comedy routine while they’re being fixed (don’t give up the day job, fella). Fortunately, this doesn’t sap the momentum and Bekkevold celebrates by belting out a furious, almost tribal drum pattern on oldie Convoys to Nothingness. Bjornson has spoken of Enslaved’s “sense of absolute freedom and the joy of being in this band” and that’s certainly something they communicate palpably to their rapturous audience.