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Zeal & Ardor: you hóórt the slavenkettingen rattle #BlackMetalMatters

Few bands were more programmed than the U.s.-Swiss Zeal & Ardor: if you do metal with gospel-influences, plays, you can also in the gothic kerkbogen conditioned Metal Dome.

Added to the setting had their podiumopstelling soon become sectarian. Two backingzangers flanked frontman Manuel Gagneux, with hoods over their heads, and eyes on the ground. They played the church choir: she did the ‘ooh ooh’ and repetitive mantras which Gagneux his raw voice did cleave. At times it sounded almost like Rag-n-Bone Man, to the guitarists on a rams moves: Zeal & Ardor does have teeth.

For Gagneux started almost as a joke: he wanted to be ‘black metal’ and ‘black music’ mix. On the albums Devil is fine, and Stranger Fruit ” – and he showed that it also worked. The anger smouldering in his on slavenliederen inspired spirituals – in ‘Devil is fine hóór the chains – no longer need to be opgekropt, but unbridled to erupt. ‘Ain’t no shelter for us’, he barked at the end of the set that slavensongs immediately the #BlackLivesMatter movement.

In his first passage at Graspop showed Zeal & Ardor, immediately Dome-flooding. “We’re gonna shut up and play some music,” had Gagneux, for the curious welcomed. With such a set you would be crazy not to do that.

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