It is a known fact that no other country can compete with Germany for quantity, and often quality, of metal festivals. During the period of warmer weather from mid-May to mid-September (although it is still continental weather, so always have a raincoat handy), the problem for the German metalheads is that they are spoiled for choice, having to decide which festival to look forward to during each weekend, out of the three to four organized. Obviously, this ranges from one day events with five, more or less, local bands to the bedlam of the infamous Wacken Open Air, but this only adds to the variety and satisfaction for those who have metal in their blood.

However, between very internationally renowned festivals like the underground gem Keep It True and gigantic ones such as the aforementioned Wacken or Summer Breeze with dozens and dozens of bands, stand some not so widely-known events, successful in Germany, but almost undiscovered as far as foreign fans are concerned.

Der Detze Rockt is a festival held in the state of Rhineland-Palatinate, in the western part of Germany, bordering with France, Luxembourg and Belgium, in the Rengen district of the town of Daun (Sportplatz am Detzenberg, Rengen, 54550 Daun).

It's located on a hill offering nice views all around, though no shelter from the sun as there are no trees at all, which can be tough with brutal, scorching heat like in 2022 with temperatures reaching over 40°C. However, the organizers are thoughtful and pro-active: they offered free potable water from a tap close to the entrance, while on the grounds they put two silos with water providing much needed refreshment in the form of sprinkling, and even added a couple of inflatable pools which were eagerly used by more adventurous visitors. The grass-covered ground, as opposed to concrete, asphalt or just soil/dirt like at some other open air events, also helps in case of extreme heat. And there are of course several gazebos with tables and benches.

On the premises, apart from the bands merch, there are stands with CDs and LPs by Dying Victims Productions and Metaleros, a few food stands, and, what is especially appreciated, you can get beer for a very fair price, while in the nearby sports facility you can also have coffee, tee and sandwiches for breakfast, as well as take a shower and use regular water toilets before noon. Last year, the organizers added also wagons with water toilets on the festival grounds, while on the camping grounds there are just portaloos.

The camping located right next to the infield is free for ticket holders and you can park your car next to your tent. Overall, the atmosphere is really relaxing and friendly and it reminds me of one of my favourite old school metal festivals, Headbangers Open Air, though Der Detze Rockt is smaller, with about 1.000 visitors.

First held in August 2011 for a single day, it became a two-day event in its fourth edition, and moved from late August (perhaps too "hot" and crowded time for concerts) to June in 2015. The next edition, which is scheduled for June 14-15, 2024, is the twelfth, since, like many other events, it was suspended during 2020-2021 due to the pandemic restrictions.

 

DDR11 – 16–17.06.2023 REPORT

The following is a brief report, band by band, of last year's edition, the second one I had the pleasure of attending.

16.06.2023

Uli Jon Roth (Heavy Metal – Germany)

Enforcer (Heavy/Speed Metal – Sweden)

Bunker 66 (Blackened Thrash Metal – Italy)

Midnight Rider (Heavy Metal – Germany)

Coltre (Heavy Metal – United Kingdom)

Mechanic Tyrants (Speed Metal – Germany)

17.06.2023

Razor (Speed/Thrash Metal – Canada)

Mortuary Drape (Black/Death Metal – Italy)

Violator (Thrash Metal – Brasíl)

Kev Riddles' Baphomet (NWOBHM, Heavy Metal – United Kingdom)

Hellripper (Black/Speed Metal – United Kingdom)

Aggressive Perfector (Speed/Thrash/Heavy Metal – United Kingdom)

Venator (Heavy Metal – Austria)

Karloff (Black Metal/Punk – Germany)

Firmament (Heavy Metal/Hard Rock – Germany)

Day one

 

MECHANIC TYRANTS (17:00-17:39).

The eleventh edition of Der Detze Rockt begins right on time with this speed metal combo from Nürnberg. The strong point of the band is the tight guitars work, capable of producing a very dynamic sound. On the down side is the average execution by the vocalist, occasionally not at the level of the cohesive performance of the other members. Mechanic Tyrants' music sometimes resembles Raven's “athletic rock”. One memorable track, different from the rest, is the dark mid-tempo “Sons of Evil”, originally written for the previous incarnation of the group, called Torpedo. Overall, a good start.

 

COLTRE (18:10-18:48).

Unusually, considering the German punctuality, the following show starts with a quarter of an hour delay. Coltre (Italian for blanket, pall or shroud) are led by Marco Stamigna, previously known from Italian speed metal band HI-GH. As they come from UK, they don't play in Germany often, so there is probably more curiosity and the audience becomes more numerous. The band's sound is clearly seventies-oriented, matching their looks. Their main reference, a reference that cannot be mistaken and that is also found on the CD cover, is Angel Witch. Despite this heavy influence, their music is very varied. Approved.

 

MIDNIGHT RIDER (19:08-19:49).

I am very interested in seeing this group founded by Blumi, former guitarist of Metal Inquisitor who has been playing also in Metalucifer. However, with them being a local band, specifically from Koblenz, there are fewer fans watching them. And it's a shame, as Midnight Rider proves to be one of the revelations of the festival, with their classic doom/heavy rock style: for once, the names of Black Sabbath and Witchfinder General can be mentioned with good reason, with a touch of Led Zeppelin. Wayne, a charismatic singer with a warm and enveloping timbre, who fortunately does not try to copy Ozzy, steals the show. Blumi's solos are absolutely mesmerising, and songs with a retro flavour (obviously), but they stand out with their class and atmosphere. Evidently quality pays off, as the crowd finally grows bigger in front of the stage towards the end of the show. The purchase of the band's two albums is immediate.

 

BUNKER 66 (20:15-21:48).

Bunker 66 are friends of mine, so it is difficult to speak ill of them. Fortunately, they give no reason to do so. Despite the change of singer/bass player – from founder Beppe to the newcomer Claudio (from Reggio Calabria’s Gargoyle) – the three Italians have no problem receiving an enthusiastic response to their black/thrash. Claudio's more gravelly voice accompanies the furious mosh pit during their classic "Overnight Sacrifice". Unfortunately, the sound is a bit muddy, but it is evident that the fans know the songs well, so the show is not affected. The crowd sings along and goes wild. The spirit is right, and the metal is celebrated.

 

ENFORCER (21:16-22:20).

I admit, I'm not a fan of Enforcer. I've seen them several times over the years, and they've never really impressed me, but this time they seem more determined. After the opening notes of "Diamonds and Rust", the Swedish band's attack and the sound impact is impressive. It's undeniable that Olof Wikstrand and his companions are well prepared professionals and the audience seems to appreciate their performance, singing along to most of the songs, even from the back: and that's what really counts. “Coming Alive” from the latest album, a fast-paced track, convinces me and suits them well, while the title track "Nostalgia", which is a ballad, does nothing for me. Probably bad luck, or perhaps a lack of real talent, is why Enforcer has never achieved the fame reserved for the great bands.

 

ULI JON ROTH (23:00-00:44).

There is no debate about Uli Jon Roth. The Scorpions are the main reason, the spark that ignited – together with Accept later on – the metal scene in Germany, with its size and tradition that we know today. Uli is the direct disciple of the most important guitarist in rock history, Jimi Hendrix, and that's enough. That being said, singer Niklas Turmann is an excellent emulator of Klaus Meine, while the other band members are all refined musicians. This perfect mix of artists interpreting the immortal songs of the Scorpions can only result in a unique and memorable experience: "We'll Burn the Sky", "In Trance", "Fly to the Rainbow", "Picture Life", "Catch Your Train", "Dark Lady", plus another handful of songs from Roth's solo albums. We are at stellar levels, with the surprise that Uli sings (much) better nowadays than in the past. The concert ends with "All Along the Watchtower" and "Little Wing". After a performance of such magnitude, even if the festival had ended like this, I would have still considered myself satisfied (OK, I'm exaggerating, there are Razor on the second day).

 

Day two

FIRMAMENT (13:32-14:04).

The second day of Der Detze Rockt starts under a blazing sun, so people prefer to watch the show of Firmament more from under the tent on the right side of the stage than from close to the stage itself. The guitar sound is Iron Maiden-like, but overall the music is leaning more towards hard rock. The frontman is in full control of his deep voice and the incisive solos stand out. The cover of "Desert Plains" by Judas Priest seems a bit out of place for this young German group's style, but they perform it well. A very convincing band live that reminds me of Thin Lizzy and Wishbone Ash. A great start.

KARLOFF (14:25-15:10).

The blackened eyes à la Tom G. Warrior leave little doubt. Despite the slightly retro attire, this German trio is mainly inspired by Hellhammer., but mix it with some punk influences. However, if you don't know the songs, it's hard to appreciate them, as they all sound a bit similar. The overall sound works though, with the bass in the foreground blending well with the guitar and the minimalistic drumming. The singer/guitarist doesn't interact with the fans. However, I plan to listen to them again from the album.

 

VENATOR (15:29-16:08).

In comparison to Karloff, these Austrians are more explicit in their looks and attire: the drummer wears a white Nike tennis headband over his mullet, completing the looks with orange aviator glasses and obligatory mustache, while the singer sports an eighties look with furry leopard-print leg-warmers over faux leather pants. He is good, and at times reminds me of Blackie Lawless in terms of melodies, but without his extremes. The songs are immediately catchy, but without resorting to obvious melodic solutions, supported by solid riffs. One of the final tracks, “Seventh Seal”, is very Maiden-like, while “Paradiser”, from their self-titled debut EP, is more influenced by Judas Priest. The first rows are full of devoted fans, and the crowd is large. A pleasant show of “no-nonsense” heavy metal.

 

AGGRESSIVE PERFECTOR (16:30-17:10).

The guitarist/singer General Holocausto (nice nickname!) has a coarse voice with a hysterical falsetto, but it works anyway. The solos, on the other hand, are not his strong suit, a bit embarrassing: luckily they are rare and short. The sound is dirty but the execution is clean. I listened to the album of this English trio shortly before the festival and I liked it quite a bit. Live they are better, as it is difficult to express such raw energy in the studio, and sometimes they are reminiscent of the punk attitude of Venom. During "Vengeful One", the first row shakes the barrier with relentless headbanging, but the crowd is smaller than for the previous gig.

 

HELLRIPPER (17:30-18:16).

There is a certain anticipation for the show of James McBain's band. The young Scotsman has an abrasive voice, the right attitude on stage, good communication with the audience, and a group of capable musicians backing him up, including a drummer who is a real machine. His compositions are a perfect mix of Motörhead and Venom, but despite this, I only really appreciate his first release on Barbarian Wrath, “Coagulating Darkness”. Obviously, it's just a personal opinion, but the full hour scheduled for his show seemed too much, however fortunately it lasted only 46 minutes. Anyway, it was intense and appreciated by the crowd.

 

KEV RIDDLES’ BAPHOMET (18:48-19:45).

No one can deny that Angel Witch were a seminal band with their debut album. It is equally true that Kevin Heybourne's vocal performance in recent years has been at least uneven. Since 2021 the original Angel Witch bassist Kevin "Skids" Riddles has a live "cover band" to offer the music of this band from their heyday.

The musicians are four-fifths of Tytan (so all the same minus the keyboard player) and are seasoned veterans. I especially appreciate Tony Coldham, a singer with a good vocal range. In conclusion, Kev Riddles' Baphomet are the best alternative to Angel Witch on a bad day. All the classics follow one another and whoever is not yet close to the stage comes running for the final chorus "You're an angel witch, you're an angel witch...".

 

VIOLATOR (20:12-21:17).

The instrumental intro leaves no doubt as to how traditional the thrash offered by this Brazilian band is. They remind me of the dark sound of Slayer and it is immediately noticeable how well prepared they are as musicians. The singer/bassist Pedro "Poney Ret" Arcanjo talks a lot between the songs: he dedicates "Respect Existence or Expect Resistance" to the 700,000 COVID deaths in Brazil, then lashes out against Jair Bolsonaro before "False Messiah". The mosh pit extends from the front row to the soundboard, involving many of the fans. Between various thanks ("We've been playing for 21 years and it's an honor to be in Germany, home of Kreator and Assassin..."), political statements and furious tunes, the concert flies by really fast. I wish they had played longer than the hour allotted to them. The finale culminates in a festive stage invasion by during “Uxfxtx (United for Thrash)”. Definitely the most exciting and memorable experience of the two days of the festival.

 

MORTUARY DRAPE (21:50-23:00).

These five Italians take the stage wearing full costumes, including cloaks and face paint, except for the singer whose face is covered, and who often stands behind a pulpit reminiscent of the one that Bulldozer's A.C. Wild uses. The sound is clear and powerful, the performance flawless, the light show evocative, with a focus on yellow and green first and then red and blue. However, their show seems to fail to excite most people, unfortunately and surprisingly. Apparently, not many Germans know his cult black/death band from 1986.

The audience is sparse and the applause isn't very enthusiastic, though the reaction improves during the faster songs. "Primordial", a classic from their 1994 debut full-length, closes a concert that is perfectly executed and deserved a better response in my opinion.

 

RAZOR (23:34-00:28).

Razor starts with some volume issues, but by the third song, "Violent Restitution", the problem seems to be fixed. Dave Carlo and company unleash one killer classic track after another (like “Cross Me Fool” or “Cutthroat”). But they also play some newer ones: "Off My Meds", from their 2022 album "Cycle of Contempt" – which was not well-received – is not bad live, but "Jabroni", also from 2022, is much less convincing. The band is in top form, massive, aggressive and cocky, just like their lyrics, which in part remind me of those of their compatriots Anvil. Here are "Electric Torture" and "Parricide", both from the excellent "Shotgun Justice". The moshing, needless to say, is furious and continuous throughout their show, and Dave's solos are always sharp and enjoyable. The gig ends with the double bill "Take This Torch" and "Evil Invaders". Unfortunately, the show doesn't last even one hour, due to Dave Carlo's health problems, but it's more than fine anyway. Razor, thrash the way it's meant to be!

 

After two intense days and 15, all interesting, bands, my verdict is absolutely positive for this last edition of Der Detze Rockt, a festival that demonstrates constant growth, and that I appreciated even more than the previous year. See you in Rengen on June 14, 2024!

THE NEXT EDITION

As already mentioned, Der Detze Rockt 12 will be held on June 14-15. Here is the billing updated on January 11, 2024:

Triumph of Death performing Hellhammer (Speed/Thrash/Black Metal – Switzerland)

Asphyx (Death/Doom Metal – Netherlands)

Riot City (Heavy/Speed Metal – Canada)

Old (Black/Thrash Metal – Germany)

Bütcher (Black/Speed Metal – Belgium)

Amethyst (Heavy Metal – Switzerland)

Balmog (Black Metal – Spain)

Galactic Superlords (Heavy Rock – Germany)

Evil Excess (Black/Speed Metal – Germany)

Stallion (Heavy/Speed Metal – Germany)

ADDITIONAL INFO:

NUMBERS AND GENRES

In the previous eleven editions, on the stage built on the sports field with a view of the highway bridge (it's kind of strange to see a campsite full of metalheads when arriving from the highway), artists from all over the world, but mostly Europe, performed: 122 different bands for a total of 135 concerts. As far as genres are concerned, classic heavy metal and NWOBHM prevailed, with a good representation of speed/thrash, followed by hard rock and death/black.

For those who are as curious as I am and want to delve deeper, I have researched the running orders from 2011 to 2023 (see also DER DETZE ROCKT BILLINGS: 2011-2022) and the countries of origin of all the bands. In short: 1 band from Brasil, Bulgaria, Czech Republic Finland, France and the USA, 2 bands from Austria, Japan and Spain, 3 bands from Belgium, Canada and Italy, 5 from the Netherlands, 10 from Sweden, 16 from the UK.

The country that takes the lead is obviously Germany with 70 bands, but the interesting fact – the one I was on the hunt for and went to the trouble of collecting all this information – is that as many as 48 bands come from the same or two neighboring German states, with Koblenz as the leading city: among others, we are talking about artists such as Metal Inquisitor, Desaster, Pyracanda, Steelpreacher, Midnight Rider... The conclusion, however obvious, is that in Germany they are able to organize interesting festivals, even with an international appeal, relying mainly on "local" bands, a situation as enviable as it is almost unthinkable in any other country, except perhaps in Sweden.

DER DETZE ROCKT, A GREAT LITTLE FESTIVAL

www.derdetzerockt.de

www.facebook.com/DerDetzeRockt

Text by Simone Peruzzi. (Metal on Metal Records).
Photos by Jowita Kaminska-Peruzzi (Metal on Metal Records).