RAGINPIT MAGAZINE

Country has done it. Rock and gospel have done it. Hell, even rap is guilty of incorporating elements of Folk music from time to time. While elusive until recently, so has Metal. Bands like the Summoning, Falkenbach and Bathory were experimenting with traditional music elements long before any of us knew just how popular Folk Metal was bound to become. Now, Folk Metal, for lack of a better term, is all the rage. PaganFest's impressive, eclectic register of Folk, Viking and Neo-Classical Metal bands proved that fact to me, as I was fortunate enough to check out the Santa Clara stop hosted by the Avalon.

The night kicked off with German-based Suidakra, a thrashy death metal four-piece with traditional Celtic undertones. Upon my arrival, I was disappointed to see that they left their studio bagpipe player back in Germany, opting to play accompaniment tracks in lieu of his absence. The orchestral intro to "Pendragon's Fall" started things off, but sounded a bit sparse as it was played only by the bare-bones members of the band (guitar, bass, drums); however, Suidakra's overall high-energy style, accompanied by some fairly impressive and well coordinated guitar shredding was enough to keep at least the younger crowd up front captivated - a decent start to the evening, but only a hint of what was to follow.

Next up was eight-piece Swiss sensation, Eluveitie, who, in my mind, should have headlined! Loud hails and war chants came from all ends of the crowd as each of Eluveitie's eight members made their stage entrance. The complete line-up was a sight to behold - guitars, fiddles, bagpipes and flutes alike all raised in the air as the crowd welcomed them. Sevan Kirder, Eluveitie's bagpipe player opened the set with a hypnotic intro not unlike that heard in traditional meditative Celtic music. He was then followed by a ravage of amplified sound and intense war chants (in both English and Gaulish) reminding us that Eluveitie was, very much, a metal band. Showcasing material from Slania, their latest release, Eluveitie quickly captivated an audience thrilled to witness each member's unique musical contributions - most notably that of the head banging hurdy-gurdy and bagpipe players. Overall, the set was upbeat, fun and incited several audience members to break out into Scottish style "highland" dancing throughout the set.

Tyr, who followed Eluveitie, seem to have been somewhat shrouded in ambiguity up until recently. With song titles and lyrics in Norwegian, album covers decorated in Norse runes and a sound that can only be described as Norse Viking-Power-Progressive Folk Metal, Tyr is, for lack of a better term, like no other band you've heard! I love Tyr, but after Eluveitie's charismatic, high-energy set, these guys paled in comparison, live. Like Suidakra, they left their more traditional instruments (probably along with their swords and shields) back in the Faeroe Islands, their country of origin. Tyr did manage to exhibit some killer material from every aspect of their career in the short amount of time that they had on stage, albeit opting to stick to their more mid-tempo material. Tyr kicked things off with "Gandkvaedi Trondar", a track from their forthcoming album Land, to a crowd who was a bit unsure about them at first. Then Tyr plunged into "Hail To The Hammer" (off their debut),"Wings of Time" and "Torstein's Kvaedi" from their well-acclaimed release, Ragnarok. Between the blindingly white torsos of each band member, (save the bassist who was otherwise covered in Celtic tattoos) habitual fist-raising and hail screaming amidst guitar breaks - the crowd was at least amused. Musically, Tyr is very up to speed. Their unique breed of progressive power chords and solos, vocals, and lyrics are not heard very often, even in the Folk Metal community.

Speaking of guitar riffing and solos Ah, hell, forget the guitar solos! Hail the violin solos! Turisas, the 'Battle Metal' branded six-piece from Finland, graced the stage clad in Lord of The Rings-like animal skins and war paint. Initially, the lead guitarist captured my full attention with his furry toga and boots - face and body covered in blood-like war paint, but it was Olli Vanska, Turisas' entrancing, head banging shred-style electric violinist that captured a majority of the audience's attention, as did Nette Skog, their live session accordionist. Turisas opened their set with an epic, battle-like orchestral instrumental, which quickly morphed into "As Torches Rise," and their catchy, upbeat "To Holmgard And Beyond." Turisas proved to be well-accepted by a crowd who head banged and danced along with them (Scotch-Irish style, of course) throughout the set. Vocalist Warlord Nygard was probably one of the most personable amongst the series of musicians that night, jesting to the crowd between songs. About halfway through the set, he complained to the crowd about the club's 'no drinking on stage' rule. "Well, we've come to that part of the night where we'd like to play our drinking song," Nygard began. "Normally, I toast with a beer in my hand when we play this song," he said, while looking around the stage for the first available bottle of liquid that he could find. Someone in the crowd tried to pass him a Budweiser (jokingly, I can only hope). "Bah, that's not beer!" said Nygard. "I'd may as well toast to this here bottle of water!"

Finnish act Ensiferum concluded the evening. Clad in pretty much nothing but matching Finnish flagged kilts, they played their melodic Power-Folk metal to a crowd dominated by younger kids. No traditional folk instruments to report from this band, save for their keyboardist who added the compulsory atmospheric makeshift folk elements needed. Ensiferum's two guitarists had a more Classical approach; however, playing their instruments more like fiddles and keeping with scales and notes reminiscent to those heard in traditional Northern European music. They were rewarded for their efforts by an overall positive reaction and were the first band to really successfully get the crowd to break into a mosh pit.

For me at least, this show will stand out in my mind for years to come. I know that the overall affinity that I felt towards the incredible talent held by all of the bands of PaganFest was felt by several, as witnessed by a crowd who cheered and wanted an encore from almost every band in the lineup. Watching so many young kids become excited by traditional folk instruments, deciphered into a language that they can understand is a breath of fresh air. Folk and neo-classical metal are beyond a doubt, a far cry from the rock/rap crap from days past. There's a more complex formula finally brewing above the underground, here, and PaganFest was proof that metal continues to evolve and grow.

Send post as PDF to