The sacred grounds of Donington Park are opened once more for Download Festival 2010. The sun is shining, the beer is flowing and Nottingham mentalists Lawnmower Deth (5/5) are getting the party started with some comical thrash silliness. A crowd-surfing race to the back of the marquee and back is truly a wonderful sight to behold, as is a conga line instead of a circle pit and a giant rabbit throwing out carrots. Of course, these antics are interspersed with anti-seminal tracks including ‘Watch Out Grandma, Here Comes A Lawnmower’ and ‘Satan’s Trampoline’. This is the sort of thing you want at a festival; a band who are enjoying themselves as much as the punters. Meanwhile, metalcore brutes Killswitch Engage (4/5) tear shit up on the main stage, vocalist Howard Jones sounding as well and as on-form as he did before his recent absence. Their dedication of ‘Holy Diver’ to the late great Ronnie James Dio is one of those classic, spine-tingling Donington moments. Coheed And Cambria’s (3/5) set is less memorable, but Sideshow Bob… erm, Claudio Sanchez guitar-smashing antics make it worth watching alone. Them Crooked Vultures (1/5) prove to be as dull live as they are on record, falling into pretentious jam sessions and lazy songs that don’t live up to their subheadliner position. Perhaps it’s just a case of bad booking, as they were only ever intended to be a side project, but the biggest WOW-factor about them remains that they feature a man who played on ‘Stairway To Heaven’. And even that doesn’t help much. Bullet For My Valentine (2/5) aren’t much better; their crowd is more loyal and appreciative, but these sub-par metal songs aren’t wholly memorable. But do you know what is memorable? AC/DC (5/5) at Donington. The show features the same setlist and spectacle as their last tour, but that one is now seeing these antics – a giant inflatable Rosie, a Rock ‘n’ Roll Train smashing through the stage and the unstoppable Angus Young soloing tirelessly from a raised platform – at the definitive location, at the Mecca of Metal, makes it a breath-taking, truly inspiring performance.

The unlikeable Rolo Tomassi (3/5) are pretty good today. Their strange, unpredictable bursts of mathcore madness leave the first few rows pumping their fists and the many rows behind staring, open-mouthed at the schizophrenic strangeness – perhaps taken aback by the voice coming from petite singer Eva Spence, who zooms from stage left to stage right, flailing her arms like a child on a Haribo overdose. More female fronted metalness is taking place on the main stage in the form of Texas’ Flyleaf (3/5), whose tunes are strong – particularly fan favourite ‘I’m So Sick’ – but lack the same impact. Rock Sugar (5/5), while honestly nothing more than a gimmick, prove to be a very enjoyable one. Their songs consist of nothing more than mash ups of classic rock and pop songs, but in a field of pissed-up rockers, little else is required. The crowd’s response is rapturous, and as the band march off after a beautiful rendition of ‘Bohemian Rhapsody’ – laced with Mötley Crüe’s ‘Kickstart My Heart’ – it’s safe to assume they’ve increased their fanbase.

Glam metal characters Enuff Z’Nuff (4/5) are just great. Life-affirming anthems like ‘Baby Loves You’ let Tory Stoffregen show off his impeccable axe skills, and ‘80s cult anthems like ‘Fly High Michelle’ get the old people going. Speaking of old people, Dave Mustaine’s Megadeth (4/5) are still rocking as hard as ever, thrash anthems like ‘Sweating Bullets’ and ‘Symphony Of Destruction’ still inciting the reactions they always have. Inversely, HIM (1/5) are fucking terrible, largely thanks to frontman Ville Valo. His once-admirable crooning is replaced by horrific caterwauling, his trademark angst-fuelled shrieks falling flat. Even modern day classic ‘Buried Alive By Love’ lacks the shopping centre goth-uniting beauty it once had, its now-hollow refrains emanating from a band who may have had their day. Hanoi Rocks’ frontman Michael Monroe (3/5) is a lot more interesting, the peroxide 47-year-old still doing the splits and climbing the scaffolding as he belts out some Hanoi favourites and new offerings, remaining nothing but charming throughout. Add Wildhearts frontman Ginger to the mix on rhythm guitar, and you’ve got a very exciting gig indeed. However, it’s not as exciting as Simon Cowell-bothering rap-metallers Rage Against The Machine (4/5), whose show has an air of victory about it, Zack de la Rocha singing along to the funkin’ anthems with a loveable smugness about his chops. The pits and bouncing spreads as far as the back, ‘Killing In The Name’ sending the place into a frenzy as the second night of the festival draws to a close.

Thirty years ago, the first rock festival at Donington took place. A band called Saxon (5/5) performed at it… and today, they’re doing it again. Tearing through their entire ‘Wheels Of Steel’ album – which shares its anniversary with the fest – they pour skill, charisma and tenacity into their performance with more energy than some of the young upstarts at Download this weekend could ever hope to attain. And, I hear you ask, do they play ‘And The Bands Played On’, the song that was written about the first Monsters of Rock Festival? Of course they do. And really fucking well. Cinderella’s (5/5) tight, bluesy boogie is perfect for a Sunday afternoon. Facing a comparatively small crowd, their glam anthems surely win over a few sceptics nursing their over-priced Tuborgs on the hill during ‘Gypsy Road’ and ‘Don’t Know What You Got (Till It’s Gone)’.

A few thousand more people are crammed into the audience for the return of Slash (4/5) who treats the faithful to Guns N’ Roses and Velvet Revolver classics, as well as offerings from his recent unremarkable solo effort which are much more encapsulating live than on record. An appearance from Lemmy adds some more magic to proceedings, but the absence of Scott Weiland for ‘Slither’ raises some eyebrows. Steel Panther (5/5) also raise some eyebrows over at the second stage, their deliciously OTT lampoon on ‘80s hair metal harvesting many a chuckle and many a pair of tits from the rain-soaked viewers. Ridiculous anthems like ‘Community Property’ (‘if you were a hooker you know I’d be happy to pay / if suddenly you were a guy, I’d be suddenly gay’) unite the masses in some carefree, nonsense singalongs and chase away the grey clouds looming over Donington.

Ginger’s (5/5) set achieves a similar goal; originally billed as an acoustic show, he arrives accompanied by eight guitarists, all playing simultaneously, thus retaining the sound of an electric band. Multiply this by the fact he is only performing Wildhearts songs this evening and you have one standout reason why the new Jägermeister acoustic stage is a lovely little addition to an ever-growing festival. Scott Weiland eventually shows up with Stone Temple Pilots (4/5). His between-song banter is slurred and stupid, but he strangely nails every song as though he isn’t on drugs, hitting closer ‘Trippin’ On A Hole In A Paper Heart’ note-perfect. The drizzly weather has finally subsided by the time the Bad Boys from Boston Aerosmith (5/5) take to the stage. Recent rumours of Steven Tyler’s departure are blown away by the band’s tightness during abrupt opener ‘Love In An Elevator’ and the groove of ‘Eat The Rich’. When Tyler – wearing a glittering sequinned jacket – stands alone on the walkway in a red spotlight and starts to sing ‘I Don’t Want To Miss A Thing’, it’s a truly chilling moment in which girls (and some fellas) cry, and camera flashes and lighters line the beautiful darkness of the audience. ‘Toys In The Attic’ rounds up the weekend, and after the talent on display these past three days, it’s going to be difficult to surpass such a line-up again.

Same time next year everyone?

AC/DC – ‘Black Ice’
(179 words)
The most common stocking-filler for any rock fan this Christmas was undoubtedly ‘Black Ice’, the fifteenth studio album by Scoto-Australian legends AC/DC. With a completely sold-out European tour on the horizon (every ticket for a date at Glasgow’s Hampden Park being gone within an hour) and countless features in magazines, anticipation of the band’s comeback is bordering on hysterical. However, this is before one takes into account the actual quality of the album – is it worthy of such attention? The answer is yes, and no. Tracks such as lead single ‘Rock ‘N’ Roll Train’ and funk rock number ‘Money Made’ are destined to be immortalised in AC/DC’s catalogue of hits, but much of the album is typical AC/DC cannon fodder which can be a chore to listen to in longer listening sessions. It is, however, just that – typical AC/DC. Thirteen-minute epic ballads cannnot be expected from this band at this stage in their career, and that the Aussies are still capable of producing their trademark fiery sound after thirty-five years is reason enough to celebrate their return.

Alestorm – ‘Captain Morgan’s Revenge’
(195 words)
Scotland has been well-noted for its continuous musical exports, from the Bay City Rollers to Franz Ferdinand, but our latest offering comes in the form of something a little bit different. Hailing from Perth are Alestorm, a four-piece who play a combination of Scottish folk melodies and heavy metal, conveniently dubbed Scottish Pirate Metal. The ten tracks on this debut album (available now) cover a range of themes all associated with the pirate life – mainly treasure – through an epic, grandiose sound that one wouldn’t think could possibly be made by four young Scotsmen. The level of musicianship is stunning, the instrumental duels between guitarist Gavin Harper and keyboard player Christopher Bowes being particularly impressive, not to mention the rich grooves present courtesy of bassist Dani Evans and thundering drumwork of sessionist Migo Wagner. It’s certainly something different, and love it, hate it or laugh at it, it’s certainly entertaining and a breath of fresh air from the recent wave of indie bands coming from the country. Tours with established acts and slots on many international festivals should ensure Alestorm keep Scotland on the map in terms of musical produce for the foreseeable future.

Gallows – ‘Staring At The Rude Bois’
(119 words)
In a world of young bands readily willing to bend over backwards for greedy record label executives, as well as popular over-indulgent musical groups taking themselves far too seriously, the soul purpose of music is easily overlooked: entertainment. This is not the case with fast-rising stars Gallows, an uncompromising punk rock quintet from Hemel Hempstead. Originally released in 1980 by The Ruts, this cover sees the traditional frenzied guitar riffs and pounding drums of punk meet the spit of singer Frank Carter, who could give John Lydon a run for his money. The band’s evident passion, sing-along hooks and guest appearance from London rap artist Lethal Bizzle will ensure the single fares well upon its release on November 19th.

Guns N’ Roses – ‘Chinese Democracy’
(218 words)
Fifteen years. It took fifteen years, but it finally happened. Guns N’ Roses’ ‘Chinese Democracy’, the self-proclaimed ‘most anticipated album ever’, hit the shelves at the end of last year. Lead singer Axl Rose – the only remaining original member – had faced criticism for quite some time due to the inexplicable amount of time it took for him to make the record, emphasized by the fact his ex-bandmates (who include bassist Duff McKagan and iconic top hat-sporting guitarist Slash) had made their own solo efforts and two entire full-length releases with their new group Velvet Revolver during the period. Sadly, it cannot be said that it was definitely worth the wait. While the album inarguably has its moments, the groove metal stomp of ‘Shackler’s Revenge’ being a particular highlight, the album all too frequently plods along, the inevitably over-produced tracks often sounding too diluted to hold attention. The whole thing is helplessly overshadowed by the fact it took from 1993 till now to make, while countless albums by Guns N’ Roses’ peers have earned more admiration and appreciation since then. Whether the album will stand the test of time and rekindle fans’ interest, or be the final nail in the coffin of a band that many have already given up on, is for the future to tell.

Iron Maiden – ‘Somewhere Back In Time’
(158 words)
Few bands can stay together for over thirty years without ever stopping, but even fewer can do so while remaining an inspiration to countless others for the whole of their professional career. One such band are British rock legends Iron Maiden, and this new release (available now) highlights the best material from their ‘golden era’ of 1980-1989. From the spine-tingling opening of Churchill’s speech and ‘Aces High’, the album is a tour de force of the songs that defined the band’s career, including live anthem ‘Run To The Hills’ and the seminal ‘The Number Of The Beast’, as well as live renditions of more obscure tracks such as ‘Phantom Of The Opera’ and ‘Wrathchild’. With rumours of the band’s metaphorical train slowly coming to a halt, this collection is a fitting tribute to arguably the world’s best heavy metal band, and will serve as a reminder of their timeless contribution to music for a long time to come.

Mötley Crüe – Saints Of Los Angeles
(206 words)
Fame is said to have its downsides, and there are few bands whose careers support this idea as much as those of the four individuals who make up Mötley Crüe. Their 27-year career has seen Vince Neil, Mick Mars, Nikki Sixx and Tommy Lee endure long-term addiction, prison sentences, troubled relationships with family and friends, and even death. Although the fearsome four are arguably known more for their substance abuse than their musical substance, they have overcome the odds and unleashed ‘Saints Of Los Angeles’ – their ninth studio album – upon the world. Reverting back to the melodic, accessible sound of their classic ‘Dr. Feelgood’ album but incorporating a more dangerous heavy metal edge, the band recall stories of their rise and fall through aptly named tracks such as ‘Chicks = Trouble’, ‘The Animal In Me’ and ‘Face Down In The Dirt’, all of which feature instantly memorable hooks and the Crüe’s trademark sassy lyrics. Glam metal is often – and probably always will be – accused of superficiality and smirked at for its attempted audacity, but there is no denying that here, Mötley Crüe have produced a heartfelt album with more integrity than many current popular bands half their age could ever hope to.

The Surrogate Pink Floyd Show
Clydebank Town Hall, December 2007
(224 words)
One could be forgiven for thinking that Clydebank had been paid a visit by rock legends Pink Floyd after witnessing the performance in the town hall on the first of the month. In actual fact it was a Glasgow-based tribute act who go by the name of The Surrogate Pink Floyd Show, and who stop at nothing to recreate the legendary live spectacle of their heroes. Strobe lights flash and dry ice fills the stage as the band power through Floyd classics such as ‘Money’, ‘Wish You Were Here’, ‘Shine On You Crazy Diamond’ (dedicated to the late Syd Barrett) and of course, ‘Another Brick In The Wall’. Lead singer Jer emulates David Gilmour’s vocals extremely well, while his bandmates prove themselves to be exceptional musicians, in particular guitarist Joe who flawlessly performs the guitar pieces of Gimour and Waters note-for-note. Each song is met with tremendous applause from the relatively small audience, which the band feed off of; ‘Are all Clydebank people this nice?’ they ask, before launching into songs from Floyd’s ‘Dark Side of the Moon’ album, also suggesting that everyone buys two copies of the Post when they are featured. The future of the real Pink Floyd is uncertain at the moment, but while tributes as authentic as The Surrogate Pink Floyd Show are around, little is left to be desired.