Infernal Art, part trés…

Let’s get back to where we were before this whole Pickman’s Model awesomeness, eh?

So, I was drawing the Inferno Metal Festival… By the third day I started really noticing that I needed to pace myself. This time we left the exhibit area early so that I´d make the concerts in time, yet ended up running back and forth and back and forth and finally getting to the festival a bit too late.

I only caught the very last bit of Necronomicon. I had really wanted to see them,  because 1. The name! 2. I had checked them out befor the festival and it’s really awesomely brutal riffing trash. 3. The name. I’m a bit of a Lovecraftian, you see… Anyhow… I rushed in and only caught the last song in full. Bad-ass/somewhat silly red and black costumes, synchronized headbanging, and just spectacular playing made me very sad I didn’t catch the whole show. I did however get to warm up my brush.

I didn’t really care for the sound of the next band, Merah. It might have been the mood, a bit miffed after not catching enough of Necronomicon, it might have been the setting, more geared toward more extreme metal, but Merahs poppy sensibilities weren’t clicking with me. However, they kept introducing more and more ridiculous costumes, so I had to stay and draw. Strangely, Merah is the only ban at the festival I can’t find online. Hmmm…

I had strict instructions to go draw Aeon Throne, and they didn’t dissappoint. Later, back in Bergen, I met their bassist and accidentally insulted their music. I said that I loved drawing technical death metal, but that their set wasn’t fast enough. To which he replied “WHAT?? WE WERE PLAYING FAST AS SHIT!!”. And they were. What I was drunkenly trying to get at, is that certain music breeds certain styles of art. When I heard Aeon Throne, my brush started to make straight and angular lines. Mechanistic. Militaristic. And that’s fucking cool. I had a blast. But… certain types of technical death metal brings another side of my brush forward, which we’ll come back to tomorrow…

I really enjoyed what I heard of Agalloch, but I had to take a break and get some food.

Refreshed after some down-time and eatfoodstuff, Tsjuder was a definitive highlight. Again, having only head them at Hole in the Sky some years earlier, and just briefly, I only half-knew what ot expect. But something in their fantastic black metal set my brush on fire and made a bunch of surprisingly light drawings. And together with 1349 and Earth they were the band I got most drawings of through the whole festival.
Dead Trooper sounds like a really fun band. And played fantastically. But I knew I had to pace myself, in order to be at least half-awake for the last concerts.

Absu also fell victim to my trying to pace myself. Only one image of them as well.

Sólstafir, ah, Sólstafir! This was, not strangely, my absolute highlight of the festival. Having done the cover art and interior illustrations for their album Svartir Sandar, I was intimately familliar with their songs, both in audio and visuals. In fact, they had allowed me to freely create imagery for their album based on my intrepretations of their songs, and this time I got to integrate that imagery into the live-art. And not least, it’s just plain awesome to draw a band when you can sing along to every song even if you don’t know the language. The set was way too short, but they played amazingly and I was all smiles.

And then… Autopsy. Even though I had looked forward to this concert, and had tried to pace myself… I was again seeing double, and my head kept pounding. I don’t remember much, except that I kept saying to myself “Just one more drawing”, but in the end I had to call it a day and leave before the concert was over. Still, I walked home with a giant smile on my very tired face.



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