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Hellfest, not only Ozzy Osbourne concert?

Posted by admin on July 27th, 2011

Every year, the same circus protests: the aptly named Hellfest is – crudely and unsuccessfully – denounced by various associations and religious figures. If the protesters are plutost smile metal fans (one t-shirt mocking Christine Boutin moreover all the rage at the 2010), they completely wrong? And the very name of the festival (Feast of Hell, for non-English speakers) do sums he not what the metal, which in all its diversity, is part of satanic or pagan symbols? Of course, no slaughter of newborn or goat and no celebration of the Great Horned here, but a sound environment & aesthetic claim saying an imaginary concern and fascination of evil, war, violence , as well as hedonistic impulses and, in short, of everything that civilization is in check. The interest of Hellfest is precisely to be three days a kind of Mecca for what is an authentic culture. For the metal, more than any other musical genre, carries a rich and plural that goes beyond mere words and music concerns and the state of our civilization. The Hellfest, or diving in the metal culture.

They come in pairs, in groups, sometimes alone, by car, van, bus. They come from all over France, Europe, the world (Korea, Mexico …). For the event. For three days this Finkielkraut how a frightened and uncomprehending so than usual would be a savage celebration. Three days in an area circumscribed by the telluric vibrations of low loadings of powerful guitars, growls and howls, then dust, overcrowding and an endless orgy of alcohol as pumped into a bottomless pit. Neither the weather conditions or obligation to set aside three days hygiene are important. They came in number (80 000 over the three days) for a feast of sound. And a feast of choice. For the Hellfest is about to metal what the restaurant Fouquet's on the high-end in Paris. Programming, setting, organization, stands: one for three days immersed in an environment. Which begins and ends with the music, of course, but is not it.

Degenerate son of rock, metal has always been somewhat relegated to a kind, discredited, ridiculed sometimes. From birth, the early Black Sabbath albums, the genre is considered as good for the kids, the kids, as the newspapers say to cool. Is that born in the time dominated psychedelic rock ending, the beginning prog rock and all kinds of music as trip planing for hippies, heavy metal was irrelevant, dedicated to the margin, he trampled the field lysergic illusions which grazed so many dreamers. Nobody will deny that Black Sabbath laid the essential foundations that made possible the many developments of the genre. (The presence in this 2011 edition of Ozzy Osbourne tired at the end of the race, was something of a patriarch's approval.) Black Sabbath has formalized an imaginary, the imaginary plural, where are these hordes of communion came spectators.

What is imaginary? A vehicle that extreme music, sometimes fundamentally brutal and aggressive, which repels most passionate but tens of thousands of people came gaily gather on land that the growing success of the festival made narrow? In addition to the musical style, which distinguishes the metal of most other genres, these are his themes. The metal is music inherently satanic. Not as negative residual belief, not as slavish worship of the fallen angel. But as it relates, in its vast diversity, satanic symbolism – joining in that Satan Baudelaire.

A tour among the stalls of merchandising space says more than words, revealing all the fascination with death (skulls, gore pictures, black color traditionally associated with death, bereavement, and the night – but the revolt), to monsters (the posters of the past two years acted out a kind of werewolf and zombie) and violence (cartridge belts, studded belts, military fatigues), the affirmation of eroticism and coquetry (underwear, frilly, corsets). Joined by this aesthetic aspects decadent dandyism of the nineteenth century (Barbey, Huysmans …) as well as the founder of the Church of Satan, Anton LaVey. Saying a fascination with horror and violence, the barbaric aspect of humanity, the metal was from the beginning imposed atmosphere and decorum, since the ringing of the bell and other creepy cross reversed in Black Sabbath until the aesthetics of gore death metal groups, through imagery "Evil" of Venom, Bathory, most black metal bands or Slipknot, and the look of biker scum of Motörhead or Ministry.

"Extreme music for extreme people," says the slogan of a sweater Morbid Angel, also passed very well during the festival. All the metal is not extreme, but its currents and groups that are clearly come into resonance with other artistic extreme or marginal changes which are historically concurrent: whether in the movies (horror and gore, extreme porn ) or in Contemporary Art (Body Art, Viennese Actionism, performance art, Joel Peter Witkin, David Nebreda, Zhu Yu, SEMEFO …). Make-up of bloody brilliant Dødheimsgard are also reminiscent of "orgies" of Otto Muehl. The show big show of Rob Zombie makes the link with a world of horror, which is also very expert as a successful director (The House of a thousand deaths, a remake of Halloween, etc.).. The concert was one of the most anticipated of the festival was the first concert of the artist since 1998. It was excellent, full of tubes of White Zombie and Rob Zombie ("Dragula" "Living Dead Girl", etc.)..

The extreme events in the arts is the essence of a world which God has been expelled or whose word is no longer audible. Without beyond the body is in its own body that limits the individual searches for meaning by exploring his body, its sensations, its limitations. Since no Hi is to be expected, then everything is permitted: hedonism and excess (sex & drugs & rock'n'roll): this is the path taken by many groups such as Monster Magnet stoner who has delivered performance of foreground (special mention to Tripal "Crop Circle"), as precursors Goatsnake and fabulous Hawkwind, or Kyuss Lives!, reformation, which was part of the most anticipated concerts which concluded the festival.

Other groups are exploring the possibilities of mystical music, the physical power acts on the body, while the melodic motifs, sometimes ethereal and heady, set the mind racing. In this powerful stimulation of the body and mind, a musician approached trance music, be it the space rock of Hawkwind, these fabulous precursors stoner who delivered a show brillantissime, or that s' post-metal act Hindu meditative Germans My Sleeping Karma (particularly haunting discovery: listen so their two superb albums) or the aptly named The Ocean Collective, whose music is sometimes powerful and elemental stormy, sometimes calm and up to anxiety, enhancing its effect by projections on-screen backdrop. In a less metal and electronic, also include the Young Gods, back after a fabulous performance last year, and have demonstrated again that they were perhaps a live band first and foremost, as their command and captivating character are undeniable.

It is still the path of violence, aggression music explored by other groups. In a world in which God was removed and since no Hi is not to conquer through temperance, death, violence and barbarism are all the more fascinating and obsessive. In this way, especially walking training death metal, Morbid Angel as sponsors at his brutal, technical and implacable, black metal and training, including Skyforger, settlers or Mayhem 1349. But as we said one of the guitarists of the latter group, met in the VIP asking tobacco – and received a quid (!) – This is especially the theater. And this is not the doom of Satan grandiloquent Ghost in the line of Mercyful Fate, which show the opposite, with its made-up singer with an imitation of papal tiara and singing praises to Satan.

And the theatrical dimension is important. Because the metal when he explores the world of the night, those of chthonic forces, ground, makes growling voice and monstrous, with such garish Gorgons, recalls some of the ancient theater. It confirms the cathartic representation, exhibitor Aristotle. And, breaking that civilization continues in the night to the state of coals: the impulses obscure, contradictory and chaotic, bubbling, impetuous, – she foils. The metal depicts the unacceptable, it touches the taboo, the staging, it cancels the distance and the desirability and achievement. In a sense, Hellfest has something of the pagan festival, the Dionysia or the medieval Feast of Fools: for a given time, the company reversed the polarity and code of daily life in a carnival atmosphere where the values ​​are erased routine, which should not panic to see a man staggering at 10am on the first day of the festival or other end drunk sprawled here and there, where the disguise – would it be ridiculous, strange or even outrageous – is allowed and encourage closer plutost amused that mockery reproachful.

The metal, often black art, is far from glorifying the destruction and savagery as believed by those who have never bothered to go further than is possible the leash that keeps them in an area limited intellectual . Far from being part of barbarism, the degradation of man, this art like few others in music, recalled how the aesthetic transfiguration of horror and revolt, save our humanity although they plutost we rush into this nihilism that obsesses a little too much, but reality does not quite true.

Combining music with elements of folk festival and carnival, does full justice to Hellfest metal and its imaginary infinitely more rich and relevant on the time and destiny of man, than are most other genres music. In a few words like in a hundred: the Hellfest is a festival that has soul. And its success is only deserved.

Ozzy's setlist:

1. I Don't Know
2. Suicide Solution
3. Mr. Crowley
4. Bark at the Moon
5. War Pigs (Black Sabbath song)
6. Road to Nowhere
7. Shot in the Dark
8. Rat Salad (Black Sabbath song) (with guitar and drum solos)
9. Iron Man (Black Sabbath song)
10. Fairies Wear Boots (Black Sabbath song)
11. I Don't Want to Change the World
12. Crazy Train
13. Mama, I'm Coming Home
14. Paranoid

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