Cnut' Danish Kingdom, In The Reign of Cnut, ed. A. R. Rumble, | Niels Lund - animesost.info
Title: Roskilde Festival 14 – The Guide, Author: Roskilde Festival, Name: I don't know what the end goal is, but I'm having fun with it and I want other people for British bass music RUMBLE IN RHODOS NO music collective Rumble In . volunteers who work all year selecting and maintaining relations to the food stalls . 1 Introduction: Cnut in context 1 Alexander R. Rumble British Library interest of a new generation of early medievalists in the relations of Britons and Saxons. . whom he did after all bury in Roskilde in the new royal mausoleum* - to have. patterns of the coins cataloged for this thesis will be discussed in relation to Alexander R. Rumble (London and Cranbury, NJ: Leicester University Press and . probably traveled through Germany before they ended up in Scandinavia, but Ole Crumlin-Pedersen (Roskilde: The Viking Ship Museum, ), ;.
Refskou, '"In marca vel regno Danonun-: En diplomatarisk analyse af forholdet mellem Danmark og TyskIand under Harald Blitand', Kirkehistoriske Samlinger, has produced a convincing argument that the year of Harald's death was ; there is little reason to retain the traditional cautious x The 'England' inscriptions are Os 8; Sm 5, 27, 29, 77,; So 46, 55, 83, 3. S, See Simon Keynes in this volume, Johnsen, Hdkon jarl Eiriks80n Nytt kildemateriale og nye OgKlasse, ; U ; Vg 61, ; Og 68 and Fomvdnnenp.
Avhandlinger, Ny aerie, 17 Sawyer, 'Swein Forkheard and the historians', in Church and Chronicle in the 9. Vs 5; SO EBBays presented to John Taylor, ed. Loud U; SO She was first married to Extremely little is known about Harald's reign in Denmark. The the Swedish king Erik the Victorious, who was alive in but twelfth-century Danish historians Sven Aggesen and Suo ignore it probably died no later than Swein had three children by completely, and the very few contemporary sources that do mention her and then, at a time that cannot be fixed either, he rejected it are far from trustworthy.
According to the Encomium Chronicon between andand the Encomium disagree as Emmae Reginae, her sons fetched her from Sclavonia after to whether Harald accompanied Cnut to England and took part Swein's death6 so she presumably went to live in Poland after personally in the attack on London in July Alistair Campbell, being rejected. The ignore any active role Harald may have played, anyone who would encomiast has a story that after realizing that he would have to like to restore faith in Thietmar on this point will have to produce fight for England Cnut returned to Denmark and asked Harald to really convincing arguments.
Harald flatly refused even to may, in spite of the encomiast's assertion that Harald declined to consider it, claiming that Denmark was his paternal heritage while share power with him, have had some real influence in Denmark England was Cnut's and it was just too bad if Cnut had lost it.
Exactly when Harald died is not known Cnut had in fact been the older he would hardly have accepted this but, as Cnut's journey to Denmark in is generally thought to but he did so surprisingly willingly and afterwards stayed with his have been for the purpose of taking over Denmark. It has now been shown that coins with Cnut was the senior brother.
Their names point in the same Cnut's name on them were being struck before that in Scandinavia. It would also comply with current international as well as later Danish practice if Swein had put his elder son in charge of his Should anything happen to him, and Chronicon Erici, apparently an important source of Danish history.
This is a the thought could hardly have eluded him completely, the elder son confusing reference both in matters of bibliography and in matters of would be there to secure succession immediately; rulers seem often substance. The Chronicon Eric;' is the text now normally referred to as the to have left their elder sons with the safer lot while the younger Annales Ryenses. It was first published in by Lindenbrag who believed King Erik of Pomerania to be the author; in fact it was written by ones were given the more precarious one.
William the middle of the thirteenth century. Langebek published it under Lindenbrog's Conqueror gave Normandy, which he must have regarded as the title inalthough he did not believe in Erik's authorship, and in modern more established part of his heritage, to his elder son and England, editions, like the Annales Dcmici ed. It is a very dubious authority in this context. The succession in Denmark their own. Campbell may be right to say in his note Qvi: The Annales provide neither primary nor contemporary information on Cnut and Harald, and are certainly not 'the basis 6.
Campbell, Encomium, 19 Book II, 2. Steenstrup Nornmnneme, mfi'. See, for enmple, P. Staft'ord, Unification and Conquest. Harthacnut after his death in Therefore, this source cannot be adduced in William the Conqueror It is, however, dangerous to assume that the mere fact that a king's name appears in a given numismatic context is evidence that 4.
Since I did not spare my money as long as hostility was he had any power where the coins were struck. The fact that Cnut's threatening you, I have now with God's help put an end to it name appears on coins struck in Sigtuna in Sweden, and that they with my money.
Then I was informed that greater danger was approaching claim, made in his letter ofthat he was king of 'part of the us than we liked at all; and then I went myself with the men Swedes', the reason being that they are imitations, die-linked into a who accompanied me to Denmark, from where the greatest Swedish coinage struck probably around Numerous coins with lEthelred's name on them were struck from there as long as you support me rightly and my life in Scandinavia in the reign of Swein Forkbeard - and we would be lasts.
Now I thank Almighty God for his help and his mercy, that led us to construe lEthelred as the conqueror and Swein as the I have so settled the great dangers which were approaching us defeated.
In some cases dies that had been used in English mints that we need fear no danger to us from there; but [we may were taken to Scandinavia to be used there; in other cases new dies reckon] on full help and deliverance, if we need it. Mark Blackburn has shown that this practice was well established under lEthelred and In Cnut had disbanded the fleet that had helped him increased after Cnut's conquest of England. Most of the huge Danegeld that was paid out that tell us more about how the mints and the coinage were managed year probably went towards this purpose.
It seems a bit rich on than about who was actually in power. Cnut's part to claim that he had spent 'his money' averting the In Cnut paid his first visit to Denmark after he had dangers that he himself had brought in.
The troops were established himself as king of England. Dismissed by Cnut, they were of course England for Easter17 April. This is all the information the available for hire by other chieftains. Some of them were Chronicle and other narrative sources have, except that the 'D' Norwegians and Swedes and many of these probably went to Russia version adds that Cnut went with just nine ships to Denmark.
The employment of Varangians by Such a hint, although quite a vague one, is contained in a letter the Byzantine emperors increased steeply in these decades. IS that Cnut wrote from Denmark to his English subjects during this Others may have been hired by Danes and started fresh attacks on visit.
This letter, which is preserved only in a York gospel book England. If we may, for once, trust an unsupported statement by together with other material clearly associated with Archbishop Thietmar, Cnut warded off an attack by thirty ships in and Wulfstan of York, who may have added part of the text himself to killed the crews.
But what measures could he take that would effectively guarantee that no hostilities would reach the English from Denmark as long as they honoured him as Malmer, 'On the early coinage of Lund', in People and Places in Northern their king and his life lasted? Essays in Honour of Peter Hayes Sawyer, ed. The new dangers may have sprung up after the death of Harald Lund Blackburn, 'Do Cnut the Great'8 first coins as king of Denmark date from before ?
Malmer Stockholm, Lund, 'The armies of Swein Forkbeard and Cnut: Tesch Sigtuna, Scragg Blackburn, 'English die8 used in the Scandinavian imitative coinage8', Tbietmari Merseburgensis episcopi, Chromcon, vm, 7, ed. Trillmich, in hikuin, 11 Ausgewiihlte Quellen zur deutschen Geschichte des Mittelalters.
In Verbindung mit vielen Fachgenossen ed. Roxburghe Club Buchner, 9 Darmstadt, Christensen, There are several reasons why this hypothesis cannot be the late general editor of the Diplomatarium Danicum. First, it must be questioned whether the navigia were in of the Middle Ages the cathedral church in Roskilde was the largest existence at all at this date.
The chapter had them and they belong in a leding organization that had hardly been about one-third of these while the bishop had almost two-thirds, created yet. Indeed, the organization into herreder, which the 2, farms.
The bishop, thus, was very much richer than his navigia replaced, was barely complete by We are reasonably well informed about the beginnings of presupposes a degree of centralization of government that is the endowment of the chapter. It started with three substantial entirely unrealistic in this age, particularly so if the king spent gifts: Cnut ruled Denmark as an overlord, not as bishop of Roskildewho added some of the episcopal land, a direct lord.
In sixteenth-century terms this land altogether amounted to England in - and it lost him his life! In these years, negotiations were going on with Second, even if this organization had already been in existence, the papacy about the creation of a Danish archdiocese and Roskilde and some scholars would like to think that it was, control of it was expected to be promoted.
Once the sources begin to flow the sees are already omically and practically, for the service of one of their number, was well endowed. It provided a solution to the expressed in garbled accounts by Saxo24 and Snorri,25 that the problem of extending the duty to serve in the host to those free men episcopal riches could be traced back to a huge grant by Cnut, but it who were not wealthy enough to serve at their own expense, and was a very vague idea.
Christensen now suggests that their who were previously not called upon to serve. A navigium was an administrative unit mercenaries? These people were not tied down in any navigia. And, in any case, the bishop the hide units in England created by lEthelred for the same of Roskilde would be in control of his own diocese only. There is no suggestion that other bishops had such rights in some navigia, as Christensen is able to were endowed as richly as the bishop of Roskilde.
Third, by all the evidence we have, the Danish kings did not They were a matter of bitter conflict between the archbishop of begin to give away royal military rights until much later. Like the Lund and the kings because the archbishop, in imitation of his Anglo-Saxon kings since Offa, they hung on to their expeditio and colleagues in continental Europe, claimed not only the income This conflict is outlined in N.
Christensen, 'Roskildebispens jordegods f. Fra skibengods til Jacob Erlandsen, samtid og eftertid Copenhagen, The first reference to a navigium is in Diplomatarium Danicum, 1: Breengaard, Munm om lsraels hus.
Skyum-Nielsen, Kvinde og slavein Mare Balticum. Beitriige zur Geschichte des Ostseeraums in Mittelalter und Geburtslag von Erich Hoffmann, ed. Christensen, 'Roskildebispens jordegods', Unverhau, Kieler Historische Studien, 36 Sigmaringen, Suo Grammaticus, Gesta Danorum, Copenhagen, Reuter, 'The end of Carolingian military expansion', in Charlemagne's Heir. Snorri Sturluson, Oldfs BOlla helga, ch.
New Perspectives on the Reign of Louis the Pioused. Collins Christensen does not take account of the fact that styled. The question is, though, whether they served only in respect his main text was written by a foreigner, the notary Bartholomeus of land owned by the church, which was probably the case with Ortolani, for the purpose of a process in Denmark before the papal Oswald, or whether they performed the duties of the sheriff or nuncio Isarn.
It seems inevitable that the terminology of this text ealdorman in some cases, which was the point in Germany. It is will represent a translation of the royal party's complaints into difficult to say, therefore, whether Cnut could have taken European feudal terminology and into categories that were clearer inspiration from what he had seen in England.
In any case, the in Roman and canon law than in Danish life. The text has a diocesan organization of Denmark in was far too rudimentary number of references to feudal principles that seem more designed to live up to such demands. Dioceses had been created in Jutland to impress Isarn than to describe the facts of the matter in a and maybe Fyn in the tenth century, with bishops serving as Danish perspective, for example to the obligation of a vassal to suffragans to Hamburg-Bremen, but these bishops had been driven furnish consilium et auxilium,31 to felonias-,32 and to feudum.
Christensen does, draw a straight line the Danish church and to replace German appointees with English back from the beginning of the fourteenth century, when the vassals clerics. The bishop of Slesvig, therefore, was in exile; he spent the were all important, into a period in which they hardly existed. Very rest of his life in Hildesheim and died there ip ; and in north important developments took place in the twelfth century that Jutland only the see of Ribe was functioning.
Arhus is not heard of changed society dramatically. Bishops brought in by Swein could he have found the inspiration for it?
It was very much what Forkbeard did operate in Sjrelland and Skane but, in spite of the the German kings and emperors had done. They had entrusted case Peter Sawyer has made for Lund as an important centre, huge amounts of land to the bishops rather than to temporal ecclesiastical and otherwise, in Swein's reign, there is no evidence princes because the bishops were easier to control.
They were that proper dioceses were set up, with cathedrals and chapters etc. The diocese of least, so should a bishop prove disloyal the problem could be solved Skane was carved out of Roskilde by Swein Estrithsson about This worked well for the German But even if Cnut did not invest the bishop of Roskilde or other emperors until, in the eleventh century, the Gregorian Reform Danish bishops with extensive temporal and military rights in movement condemned all lay influence on the church and finallythere was still an idea that the endowment of Roskilde could deprived the kings and emperors of the right to appoint bishops, be ascribed to him, and there is more than a suggestion that Cnut leaving them only a weak veto in that they could refuse canonically had no modest intentions with this see.
The building of a stone appointed bishops the investiture with the temporalities. But Cnut church was begun in Roskilde during his lifetime, and in a charter is probably unlikely to have sought his inspiration in the Empire. Bishops and abbots were sometimes being preceded only by the archbishops of York and Canterbury, in encountered as military leaders, heading the native forces against that order.
Worcester and archbishop of York, clearly also was responsible for This still leaves us with a very open question as to how Cnut organized the government of Denmark in Did he leave someone in charge, as he entrusted the government of England to Acta processus litium inter regem danorum et archiepiscopum lundensem, ed.
This year, having become a nine-to-five office slave for a living, what I really got to re-discover, was the sheer escapism of the whole thing. Thousand people collectively leave their worries and their boundaries at home to come and live in the moment. This creates an alternate reality, and the festival's organisers know this and do their best to cater to it. I used to think that it was pretentious for Roskilde goers to boast of how 'unique' the festival is compared to other festivals, but now, I've been to Rock Am Ring, I've been to Groezrock, I've been to West Coast Riot, I've been to other festivals, and while each of those have been great in their own way - While each of those will drown you in excellent bands from a genre of your preference - They just don't have what Roskilde has: The much-romanticised Orange feeling.
The Orange feeling is this: Everybody will talk to you if you talk to them. No matter the hour of the day there will always be three to four more or less spontaneous dance parties happening within sight. If you go for a walk for ten minutes, you will see at least two or three things you never thought you'd see in your life. It seems that removing people from regular society and giving them nine days to do as they please will foster some creativity and fun that you will stare at open-mouthed and wonder "How did they come up with this!?
So to any Roskilde virgins out there: If you haven't gone, then you haven't lived. You've missed people skiing down grass hills in golden spandex. You've missed pillow-fights with over a hundred combatants. You've missed people in animal suits having break dance competitions beneath a stereo shaped like the tower of Mordor.
You've missed out on singing karaoke under a tent roof backed by a classical string orchestra. More importantly, you missed the inexplicable sense of existential distortion you experience coming home from the festival and trying to remember who you are - the one that lets you know that even after nine years, Roskilde Festival still turns you upside down.
One of the great things about Roskilde is that the organisers are always trying to develop the festival experience, to make everything easier and more fun, and here's a section to talk about some of the new initiatives this year: Dream City Among the most noticeable changes this year was the so called 'Dream City'.
Prior to the festival, the organisers had put a call out to people to come up with more elaborate ideas for 'theme camps'. The best would then be chosen to be allowed into the camping grounds ahead of the festival to actually construct camps out of more than ordinary camping equipment. This resulted in a dozen or so strange constructions in the central camping area, among which was for instance our colleagues' in blastbeast. In honest though, while I walked through Dream City loads of times, I never actually visited any of the camps there, so I'll leave it up to you readers to wonder in the comments whether it was a good idea or not.
In previous years, festival goers had to expect at least stretches of leaving their phones in for charging at the wardrobe buildings. This year, a solution was offered to purchace a USB charger for DKK, which could be swapped twice a day free of charge, and which could be exchanged for DKK back if returned before the end of the festival.
Infinite smart-phone power for this writer. I don't know what to say about this other than it was a stroke of genius and should become a staple of all festivals as soon as possible. Luxury toilets While Roskilde has always put in an good effort to clean and maintain the servicability of the porta potties, this year they had also decided to place proper mobile toilets at various locations, offering festival goers a much more comfortable experience for the diminituive price of 5 DKK, should one have a moment of squirmishness.
Again, we could find no downside to this, so thumbs up for this as well. Nicer Pant Collectors Each year Roskilde allows thousands of foreigners into the festival for the sole purpose of collecting returnable cans and bottles for money. Previously, these have been of the slightly bitter and angry type, but this year, it felt like everybody had been given a pep-talk about manners, with almost everybody asking nicely before invading camps or parties, and saying thank you afterwards. It feels like a first world problem to expect this of people that are cleaning up after you, but really it just made for a much better mood between the pant collectors and ordinary festival guests, so again, if the festival had something to do with this, good work!
Beer pre-order While beer is always easily available at the festival, it is a tad on the expensive side, even considering that it's at a festival. That's why it was a cool yet unfortunately limited option to pre-order beer crates before the festival at cheaper prices, which could then be picked up when needed at various locations in the camp site. From what we heard, this worked amazingly, and we genuinely hope that this format gets its capacity expanded next year, so us having to break our backs carrying piles of cheap peer in from the outside becomes a thing of the past!
Less drinks control Previously, it was forbidden to take pretty much any alcohol into the main festival area where all the concerts areand the control of people entering caused annoying lines. This year, Roskilde had called this off, and while there were people controlling that each person carried a maximum one half litre drink, things were much less anal and moved much faster - Which, from what we've heard, only resulted in people buying even more drinks from the festival's own bars than earlier.
Still needs improvement Queueing system This year, Roskilde had opted do away with the traditional metal fences surrounding the five queueing areas, and instead tested an 'invisible line' system, threatening false starters with fines of up to DKK. From what we've heard, this worked surprisingly well at Entrance South, but in West 1 and 2, a lot more people had somehow been allowed to book entry than either entry could fit, causing massive traffic jams for most of the queueing day.
People were supposedly denied access to the entrance they had booked, and this is of course completely unacceptable, leaving Roskilde with a persistent problem that still needs more tweaking between now and next year. The booking discussion Each and every year there are people whining cats and dogs about the line-up of Roskilde.
For one, it's not genre-specific, so one sub-culture or other will always end up feeling under-appreciated.
Two; the Danish music climate has long been shifting away from rock, which means that acts like Rihanna and Chase And Status are being brought in to cater to the Sunny Beach segment. Three; It's quite clear that Roskilde splashes on a few HUGE acts to fire up the monumental field in front of the Orange main stage, and then goes trend-spotting-aka-bargain-hunting for a lot of its remaining acts. The effect, if you ask me, is that every single festival goer will almost always have at least heard of all the headliners, while most will feel that only a handful of so of the remaining names ring a bell, because these artists just aren't big enough to have a bigger name yet.
If PP was writing this article, there would be complaining about this, but as you will see from the reviews which I'm getting to imminently, I promise I managed to find a solid number of memorable experiences despite this being the line-up I had been least excited for in a long while. So while each year of Roskilde will likely only treat you to a few of those unifying shows where you feel like you're joining loads of like-minded fans in celebration of a band you've been waiting to see, it will instead offer you dozens of experiences where you see something that you might find yourself a fan of next year.
So, if you ask me, the more I learn about the music scene, the more I'm coming around to the thinking that Roskilde's bookers are actually doing a pretty respectable job with the resources they have available, especially considering the outlandish challenge it is to book a name that can carry the weight of the Orange Stage. That being said however, they still have the prevailing problem of puzzling bands into the right slots.
This year for instance, it was near impossible to get near Jake Bugg and The Lumineers' shows at the Odeon stage, while Iceage played to barely anybody on the much larger Arena. It is of course incredibly hard to predict the pull of a band, especially considering how far in advance the bookings likely take place, but still, when you're a festival goer, these inconsistencies are annoying, and you can't but wish that something could be done about it.
Review section Alright, here's where we get to the reviews, so let's stop looking at the festival in the past tense and instead allow ourselves to be flashed back to the very first afternoon of music, shall we? Warm-up days Overthrow Sunday, Right from the start the Stavanger based band shows excitement while they enter the stage and start to play.
However, Overthrow never really seems to throw themselves over the edge of the stage and the sound is not as clear as it should be. Yet the rumbling sound never really bothers the crowd and the party continues in best metal manner.
Still, Mother Lewinsky caught my attention promoting themselves each afternoon by lending their complete string ensemble to karaoke sessions near the festival's beach, which was cool enough to lure me to their set at Pavilion Junior. The entire orchestra isn't part of the band's default setup on stage however. They help conjure up a sound that's surprisingly less centered around extended harmonic melodies which is what I expect from an orchestra and more around needlepoints of quick, rhythmic notes from the various instruments, to support the sharp, energetic singing of the band's frontman.
It's pretty cool, but things take a clear jump up when the rest of the orchestra is brought on for the song "Some Kind Of Fight", which also stirs up the audience. Overall though, I get the impression that both the songs and the showmanship lacks a bit in personality, as contrasted by the band's unusual setup, so admittedly, I take in the latter half of it laying on my back outside of the tent.
I have no knowledge of them other than seeing their name around, but she insists that they blew their tops off playing Fredericia Ungdomshus in front of almost no people, and hence deserve to be watched. Yet while I doubt the band can consistenly replicate what is about to happen at Pavilion, "deserve to be watched" does not even begin to cover it.
With a raspy Steven Tyler-ish croon and a bravado that reminds me of Razorlight's Johnny Borrell, Vium prances the stage with elegance while his mates play with elated smiles and instruments brandished high, and if the show was set up as a battle between a band and a curious crowd, you can just feel how each song turns it increasingly into a rout, to the point when the band ends with the brazen shoutalong "I'm a bad motherfucker, you can see it in my eyes! A bad motherfucker, a devil in disguise!
Much will be said about the Airbourne concert that happens at this festival later, but two bands do more with rock'n'roll's classic building blocks before them: This is my first acquaintance with the band so I did not know what was in store this sunny afternoon.
The musicians in the band never show any sign of enjoyment while playing though, and especially the bassist stands almost completely still the entire show.
At first I didn't think that they wanted to play but as the show progresses I realise that they create this negative atmosphere on purpose which actually opens their noisy post-punk universe more up to me. However, I do not think that more than a few others interpreted the performance the same way as I did which leaves most with a kind of confused state of mind when leaving the tent.
Being another band loosely connected to the trendy post-punk revival, I'm not surprised to find the band assaulting me with waves of gloomy, noisy riffs, nor that their singer booms with a dark voice that travels off tune on occasion. I do not stay for the entire set, but as the portion I see progresses, I am increasingly impressed by the weight and groove of especially the band's heavier parts, which depart from the predictable Joy Division worship into an area of comparability to fellow Danish darkness-dwellers Kellermensch.
So while I don't see the whole thing, I must admit that I leave a lot more intrigued than I was when I first came in. Predictably, vocalist Mike Muir comes on stage dressed in basketball shorts, a Suicidal Tendencies t-shirt and a bandana, much like the rest of the band, who live up to pretty much every stereotype in the hardcore subculture throughout the show.
One, their set is one of the most energetic of the festival, with Muir splitting time looking like a rapper and like a kickboxer while he angrily storms from one side of the stage to the other.
Two, the mid-song banter consists of two things: T" as well as stories from the past twenty years, with the most memorable one being a historical reference to how skateboarding started when there were no cameras, and so people used to try tricks not possible until they became possible in a thinly veiled inspirational speech for all would-be musicians.
Based on that logic, though, I wonder what he thinks about Attack Attack!? Let's be honest here: Word has it the band heard the word while playing soccer against Danes shouting our phrase for "cmon boys!
Still, with only vocals and two instruments, it goes without saying that some wizardry is needed to keep things interesting.
Roskilde Festival - animesost.info
It's amazing then, just how good it sounds when Eoin plants well-timed stomps on his effect pedal and make his instrument roar from a subdued rumble to an unhinged roar that - aided by a consistently terrific mix at Pavilion - sounds exactly like a noisy punk-rock guitar should. Add then that for the handful of songs I watch, one asskicking riff and chord-progression after another comes churning through the speakers, while Eoin and Rory both beat the shit out of their instruments, contorting their bodies on stage.
Overall, they make me very sad that I can't stay and watch the whole thing. This happens every year on at least a few occasions at Odeon, and I've learnt to give up when I see it, because there's no way I will get to enjoy the show or get any good impressions for a review. And every year it makes you wonder if somebody shouldn't have thought of switching some bands around, especially considering what's going to happen at the Iceage show described further down.
I'm hoping for an eye-opener then, but when the all female cast arrives on stage dressed and groomed to appropriately invoke their image as post-punk revivalists, I quickly have to question what all the fuzz is about.
To begin with, the band arrives without Ayse Hassan, and the others initially look puzzled as to where the bassist is. She comes on though, after which the band jumps loosely into a song which casts their music as amplified and distorted to the point where all signs of melody, groove or understandable lyrics are lost in a blinding, deafening noise.
Fair enough, I guess the genre is supposed to be like this in a way, so I stick it out for a few songs. More annoyingly however, the band seems completely unprepared for the opportunity. Despite this, the crowd is growing suffocatingly thick with people supposedly also drawn here by the hype, which only makes my temper flare faster, to the point where I soon decide to just leave.
There's good attitude and movement during the band's songs, but still post-punk or no post-punk, at least be prepared to play your set, otherwise what is this? Okay, so it's a bit weird reviewing a rapper for Rockfreaks. I'll keep it short. A ridiculous amount of people are waving their hands up-and-down in a show that would've been better suited on Orange Stage this year based on the size of the crowd stretching far outside the Arena limits, while Kendrick sings a lot of songs you've heard while clubbing anywhere in the world in the last year or two.
Interesting beats, but not at all my cup of tea. Finding myself with time to spare again, I let myself be convinced to check out Chinese Manmarking my first ever visit amazingly, through nine years at the Cosmopol stage. This place is pretty huge, and the band's DJs that line-up the stage are laying down some pretty sweet beats, getting a massive party rocking as they bring on a rapper and a trombonist during my stay to pep up the live-show, while nightmare-inducing animations adorn a huge screen behind them.
We don't stay for long though, so it would be unfair to base a review on such limited observations, but if I didn't have to be elsewhere, this seemed like an early evening blast.
People are watching this from the treeline and bars surrounding the stage, standing like fish in a barrell, and no matter how interested I am to check out new artists, shows like this suck, so once again, I throw in the towel and head to see about the room in the pits for: Immediately upon start Orange Stage explodes in huge fireworks.
Lead by Corey Taylor kneeling down screaming in front of the hooligan crew, the band puts on the kind of metal show that shakes the living foundations of the most famous stage in Denmark, with headbanging observed throughout the crowd all the way down to the back where I was standing. The pyrotechnics continue throughout the set in almost every song, with "Before I Forget" experiencing a huge sing along synchronized with the explosions of fire and incredible stage show taking place right in front of us.
The side barrel-drums elevate high, they are torn apart and thrown around the stage violently. Sing alongs to "Psychosocial" and "The Heretic Anthem". When we get to "Spit It Out", he's got so much control of the crowd that when he says "you guys all know what's up Moments later, literally everyone at Orange Stage is sitting down, only to erupt into an enormous mosh pit featuring everyone on the entire field.
It's absolutely insane at this point, and I haven't even mentioned that one of the band member simply took out a security guard who was pulling him back from crowd surfing - I guess it's not very normal for anyone to come down from the heights of Orange to do just that. The intensity in the crowd is at one of the highest levels I've seen it on this stage - that is, since when Slipknot last dominated this stage. The band has been recommended to me at the festival as another post-punk band, just with Danish lyrics, yet in honest, that description could not in any way prepare me for the madness I am about to see: At his first pause all hell breaks loose, with all instruments being hammered in abrasive, chaotic math-core fashion, and four of the band members screaming off-key and in canon.
Over the course of the show, people leave in reaction to these eruptions, but the more I watch, the more i notice that this chaos seems carefully arranged, and that Synd Og Skam aren't so much trying to burn the song writing manual as they're trying to ignore it in favour of writing their own rules entirely.
Like some french art-house movie, Synd Og Skam clearly aren't for everybody, and admittedly, what they do don't work all of the time there are stretches of the show when I'm more occupied admiring a pretty girl in front of me who has Waldo tattooed behind her right ear and things get really weird when a sixth bandmember comes on, kicks his shoes into the audience and acts so randomly it makes everyone else in the band look conventional.
I'm not sure I liked his contributions very much, visually or vocally, and overall I understand if some of you left this show. But something about the remaining band's passion and experimentation brings me to think elated thoughts not just about what it means to write music, but to also wonder about what it means to be alive. Not a 10 show maybe, but an experience I'm glad I didn't miss nonetheless. And it doesn't take long to understand while his appearances are popular.
The man understands how to tell a story and how to make his point in entertaining and disarming ways. The shots at Presiden Bush and jokes about America being more dangerous than other countries due to the amount of guns are predictable, but still command laughs even from the skeptics. Similarly the calls for tolerance and open-mindedness are a bit preachy, but still, hard to argue with.
Where Rollins really shine though, is in the more immediate stories he tells about travelling the world and talking to strangers, in which his ideals are often shown so clearly that he doesn't need to explain them. The man is charismatic, funny and encouraging, so while I don't feel like he unveils some new secrets of the universe to me, I still find myself considering seeing him again on both of the two following days.
Not knowing what to expect, I observe the band start a show in which the main members, Lisa Gerrard and Brian Perry, play the primary elements of the music on a variety of medieval instruments whose names I have to look up on wikipedia A yangqin? They conjure up a many-facetted, seemingly archaic soundscape - at least to begin with - characterised by elegantly layered backing instrumentation from their band and delicate vocal performances from both members, each sounding like they're calling to prayer from some strange ancient towers.
As a performance of music, the precision is extragavant, but as a show, I must admit that this is completely over my humble head. It sounds more like soundtrack music than anything directly engaging, and while I can see some taking it in with closed eyes and a smile, others are confused as to how to react. Meanwhile, the main duo looks disconnected on stage, with Gerrard sporting a colourful robe and Perry looking rather real world in his suit.
I'm clearly on deep water here, but the supposed immersiveness of this stuff eludes me, and I'm not sure I could even deduce my way to the point of moving this sort of music from record and out into the live setting. These guys thrive on vulgar humour, but luckily their music isn't half bad. I finally realized why there were so many Norwegians amidst us, Turbonegro are their heroes.
Metz performs really energetically which the rather small crowd responds happily to by rocking along and cheering.