We have wanted to attend Prophecy Fest for a long time, but we kept postponing it from year to year. Since the musical offer was even more appealing this year, we didn't want to miss it.
As you know, Prophecy Fest takes place in a rather unusual place - in a natural cave formed in the Stone Age - Balver Höhle (German for Balve Cave), the largest cave used as a cultural venue in Europe. According to the Germanic Saga, the blacksmith Wieland worked in the cave. Although it would be nice to meet him, we hoped to encounter a mammoth. And we did, even a lot of them. Just like that, they grazed the city streets, each with their own advertisement.
Prophecy Fest was founded in 2015 by Martin Koller as a live event based upon the spirit and bands from the label Prophecy Productions. This singular event for dark and innovative music has mostly (one edition was in the USA) taken place in the Balver Kulturhöhle (Balve culture cave) in the Hönnetal (Valley of Hönne) near the town of Balve in the Sauerland region of the German state of North Rhine-Westphalia, and already the first edition in Balve was sold out.
Balve, Germany, is in the centre of Germany, between Dortmund, Cologne, Frankfurt and Hannover. We headed the road a day before, and after several stops, we came to Balve on Thursday around noon.
Thursday, 5 September:
At the small campsite stage, the "Prophetic Overture" programme started at around 17.30. Before that, the organizers promised a welcome drink, but there were some, as said to us, "technical issues". Later on, when they solved them, the line to get one was so long that we solved the "drinking issues" by ourselves in the nearby shop. In the meantime, we met with Oytun Bektas (Tir, Ruins Of Xibalba) and his wife, who came to the festival from Australia. From our tent, we had a good overview of the stage. Quite a large number of visitors had gathered around the stage and campfires. The performances of acoustic dark folk acts Vrîmuot, Thurnin, Neun Welten, and Wolcensmen, slowly started to get a bit annoying, and it wasn't saved either by the dark ambient set of the USA-based artist Thief, who had scheduled three different sets at this year's Prophecy Fest. Nevertheless, people who gathered around the campfires enjoyed the mystical atmosphere of the evening.
Friday, 6 September:
We went to the town centre for some shopping and lunch early in the afternoon. Interestingly, the town had no pedestrian crossings, but the drivers were considerate of our walks across the street. We had pizza in an Italian restaurant for lunch, and when we returned to the venue, the cave was already full of people waiting for the first show inside the cave.
The cave's stage came alive at 15:00 with the breathtaking performance of the Austrian atmospheric black/folk metal band Perchta. To our surprise, the venue inside the cave was packed, making it challenging to find a good spot upon arrival. With limited familiarity with its music - just a few songs here and there - we were unsure what to anticipate from its live set. After witnessing the band's incredible performance, however, we can confidently say that Perchta's show was one of the highlights of this year's Prophecy Fest. The sound was exceptional, and the cave's unique atmosphere only added to the magic of the performance. Julia-Christin "Perchta" Casdorf, the captivating frontwoman, commanded the stage with theatrical movements, illuminated by a stunning light show. She indeed resembled a witch conjuring spells from a dark forest.
The entire band contributed to a remarkable presence, delivering a hauntingly atmospheric show filled with raw emotion and dark energy. Julia-Christin's powerful screams sent chills down the spine, while her clean vocals enriched the performance with a soulful resonance. The band played five tracks from its latest album, D'Muata, and two from its debut, Ufång. Choosing a favourite song was difficult, but "Vom Verlång" and "Hebamm" undoubtedly left a lasting impact. If you're ever to see Perchta live, don't hesitate - it's an experience far superior to listening to its albums. You don't want to miss this extraordinary band!
After Perchta's incredible show, we had an interview scheduled with Dymna Lotva (the interview is HERE). So, we had to skip the performances of Eis and Germ. So many good bands/artists were playing at this fest - it was a pity we couldn't check them all out. The schedule was just too crowded. OK, if a legendary band such as Solstice plays, you won't miss it.
Since the band signed a record deal with Prophecy Productions earlier this year, it was clear we would have a chance to see it play in Balver Cave. Solstice delivered a moderately good show, but we expected more. Perhaps this style of doom is no longer to our taste. The new line-up includes vocalist Dan Capp, who joined the band in 2022; you might know him from Gràb, Hammer Of The Gods, Wolcensmen, or as a former member of Winterfylleth. Unfortunately, he didn't make an impression on us. Everything the band played sounded the same and didn't resonate with the atmosphere. There were also too many high-pitched "aaahhs" and "oooohhhhs". It was nice to hear Solstice live, even though the only original member was guitarist Richard M. Walker. The band performed three lengthy songs from its acclaimed cult album, New Dark Age, and two tracks from its latest full-length effort, White Horse Hill. We had hoped to hear something from its debut album, Lamentations, but it didn't happen.
One of the bands we were most eager to see was In The Woods..., a Norwegian group known for changing its line-up with nearly every album. The only original member is the drummer, Anders Kobro, yet the band has never disappointed with its releases. In The Woods...' sophomore album, Omnio, released in 1997 and now regarded as a cult classic, is definitely one of the best metal albums of all time. As one of the pioneers of pagan metal, the band released its latest full-length, Diversum, two years ago to rave reviews from critics and fans. Back to the concert: the band played for about an hour, performing three tracks from its debut album, Heart Of The Ages, two tracks from Diversum, one from Cease The Day, and an epic track from Omnio, "299,796 km/s". Overall, the performance was good - straightforward and professional, without excessive theatrics. However, the sound quality could have been better. What frustrated us the most was that no matter where we stood, two or more people chatted throughout the show. In The Woods...' music is immersive, atmospheric, and full of intricate details, so having people loudly conversing around you is incredibly distracting. To all of you who want to chat: please step outside and let others enjoy the performance.
We were arranged for an interview with In The Woods... right after its performance. And, because we fell into a long conversation with all of the members and their manager, we unfortunately missed the entire performance of the legendary Arthur Brown. Nevertheless - and despite his venerable age - we still hold high hopes to see him perform one day.
The last band to perform on Friday was the mighty Triptykon, led by one of the most significant figures in metal music, Tom G. Warrior, the former frontman of Celtic Frost. Triptykon's performance was heavy, psychedelic, dark, and almost apocalyptic, leaving a significant impact on the audience. The energetic presence of bassist Vanja Šlajh, guitarist V. Santura, and drummer Hannes Grossmann, paired with the somewhat static but commanding presence of Mr. Warrior, made the show captivating. However, the sound quality was not as good as it should have been; it was loud, which is acceptable, but the band performed three tracks from Celtic Frost's album Into the Pandemonium, which required a more polished sound treatment to do them justice. Triptykon opened its set with "Synagoga Satanae", an epic track from Celtic Frost's last album, Monotheist. The performance included a mix of Triptykon's original tracks and Celtic Frost covers. It was somewhat surprising to hear "Babylon Fell" since it was for the first time played by Triptykon. The audience was excited to hear Tom G. Warrior's signature "UUGGHHH", but since half of the setlist consisted of Celtic Frost covers, we expected something from the legendary To Mega Therion album, but that didn't happen. Besides, to fully appreciate Triptykon's music, one might need to be under the influence of something, as the atmosphere was quite intense. Overall, it was a cool show, but it felt a bit heavy to be the last performance before calling it a night.
That day, we skipped the performances on the second stage, where Thief, German progressive doom/death band Valborg and Icelandic Viking/black metallers Fortid performed.
Saturday, 7 September:
We were looking forward to many of the scheduled performances that day, although we knew it was impossible to see them all. In the morning, we went to the city, and after sitting in a bar and drinking a superb cappuccino, plus buying some necessary things, like very cheap beers, we rushed to the cave not to miss the mighty Empyrium.
The first performance on Saturday was by Empyrium, and like the day before with Perchta, it was truly stunning. We anticipated hearing the band's third full-length, Where At Night The Wood Grouse Plays, in its entirety, but the execution was beyond our expectations. Markus Stock and Thomas Helm, leading the way, and about ten other talented musicians gathered on stage to create a magical experience. What better venue than a cave for Empyrium's enchanting music? The fully acoustic show was unforgettable, enveloping us in an immersive and atmospheric journey. Empyrium's soulful, symphonic folk resonated with grace and heartfelt energy, making it hard to describe the emotions stirred within. Empyrium achieved the best sound of all the bands; every note, shout, piano touch, and string felt alive, reverberating through our very beings. Besides Where At Night The Wood Grouse Plays, Empyrium gifted us with "Heimwärts" and "Die Schwäne im Schilf" from its 2002 album, Weiland. At the end of its set, the band received one of the loudest applauses of the entire festival. It was a breathtaking experience, reminding us of the power of music to move our souls.
Unfortunately, we had to skip the Alcest show because we had an interview with Peter and Morten from Blazing Eternity. We had a nice chat in a wonderful environment next to the park. After finishing, we were just in time to see the post-black/doom/folk metal band Dymna Lotva.
Dymna Lotva, the Belarusian band now based in Poland, made a strong impression with its new album, The Land Under The Black Wings: Blood, released last year. The quartet delivered an emotional performance, beginning with a new non-album single titled "Live!" and continuing with a set that included songs from all three of its albums, focusing on the latest one. Frontwoman Nokt is an exceptional stage performer, both as a vocalist and in conveying emotions. Even if the audience isn't familiar with the lyrics, her ability to express anger, sorrow, and grief is palpable. While the band experienced minor technical issues during the show, those didn't significantly detract from the overall experience. Dymna Lotva is, for sure, a band worth checking out if you haven't already.
We decided to skip the Fen and Austere performances since one has to eat eventually, and we had an interview with Raven van Dorst and Nick Polak of DOOL. We came in time for at least a part of the Arđ's show. Arđ delivered a good dose of Northumbrian-themed epic/melodic doom metal. After that, we certainly didn't want to skip the performance of the returners to the scene, Blazing Eternity.
Denmark-based melodic doom/gothic/black metallers Blazing Eternity are back! After being absent from the scene for almost 21 years, the band returned in a grand style earlier this year with its third full-length, A Certain End Of Everything. The band played on the second stage inside the cave, with a set divided into two parts. The first set (A Certain Chapter Of New Lights) consisted of four songs from its new/comeback album, and we thought that was the best Blazing Eternity could have offered. The melancholic melodies that came to the ears of those present stimulated the heartbeat, and many were dreamily swaying. The second part (Times And Drowning Worlds) consisted of five tracks from the band's first two albums, released in 2000 and 2003. It was magical and powerful, and considering that the band played almost without special aids such as a light show or stage accessories, it made it even more special. The cave itself was a perfect backdrop. Even if we were looking forward to the set with new songs, it was the second one that blew us away.
Between the two Blazing Eternity's sets, the atmospheric post-black/doom metallers Hexvessel occupied the main stage. The band performed a magical set of tracks - mostly from its last album, Polar Veil. The enigmatic "A Cabin In Montana", which the band played as the last one, certainly stood out.
After the second Blazing Eternity's set, we rushed to the front of the main stage to finally see DOOL playing live. The incredible Dutch band DOOL, fronted by Raven van Dorst, delivered a highly energetic and emotional performance. Its set included five tracks from the magnificent new album, The Shape Of Fluidity, as well as a cover of Killing Joke's "Love Like Blood" and the band's very first single, "Oweynagat", later released on its debut full-length, Here Now, There Then.
DOOL opened with the captivating "Venus In Flames", a song that grabs your attention with all its might; the energizing atmosphere persisted until the very end. The band's huge riffs, catchy choruses, and pulsating vibes resonated perfectly within the cave venue. For us, the show's highlight was the sensitive, breathtaking, and powerful "Hermagorgon". It was a fantastic performance, and all the members, with Raven at the forefront, gave it their best.
The festival finale was a spectacular showcase featuring the UK's iconic masters, Paradise Lost. Although they started the show nearly 30 minutes late, the excitement was palpable as they launched into their opening track, "Enchantment". While their haste meant we missed more of Nick Holmes' signature witty and cynical interludes between songs, the energy of the performance was undeniable. To (probably) the surprise of many, Paradise Lost played a stirring cover of Bronski Beat's "Smalltown Boy", which delighted the crowd.
With a strong emphasis on its influential cult album, Draconian Times, we were pleased to hear "Hallowed Land", one of our long-time favourites, after so many years. Paradise Lost also delivered other fan-favourites like "One Second", "Say Just Words", "As I Die", "The Last Time", and "Faith Divides Us - Death Unites Us". Despite having seen Paradise Lost numerous times at festivals and in clubs, I don't recall this band having a perfect sound, and that performance didn't quite achieve perfect sound quality either. While not terrible, the vocals could have been clearer - still, it was a minor flaw in an otherwise electrifying experience. The audience thrived on the band's energy, resulting in an encore that included "Embers Fire" before it grandly concluded the night with "Ghosts". It was a performance that truly highlighted Paradise Lost's legacy and left us wanting more.
Sunday morning greeted us with drizzle, which turned into heavy rain in the afternoon, but that didn't bother us, as the tent was packed, and we were already on our way home. We left the venue with a kind of bittersweet aftertaste. While everything seemed perfect on paper, in (our) reality - not quite. Leaving aside the fact that the venue did not offer a press area (well, that wasn't even on paper) and that we wasted additional time looking for a suitable place for interviews, we were most disappointed with the overcrowding of the program (which is nothing new for festivals, but at this festival, we were interested in almost every band), which prevented us from attending several performances, and of course with the sound quality. It's no coincidence that the first acts, Perchta on Friday and Empyrium on Saturday, were, of those we witnessed, the only ones with impeccable sound. Why? Because they had a proper sound check, which many or all the others didn't. It's a pity (at least for the two of us) to host such a noble set of bands and not provide them (and the audience) with the best possible sound. Still, we enjoyed our Prophecy Fest experience and will most likely return.
Report by Tomaz, Jerneja
Photos by Tomaz
Edited by Jerneja
Event Link: Prophecy Fest
