HIEROPHANT – Black Metal · Sludge Metal

Rockstadt Extreme Fest is proud to announce that the ferocious Italian death metal act Hierophant will be joining the lineup near Râșnov Fortress in Transylvania from 2-6 August 2023. Known for their chaotic and intensely powerful live performances, Hierophant is a band that death metal enthusiasts will not want to miss at this year’s festival.

Formed in 2010, Hierophant has been making waves in the metal scene with their unique blend of death metal and sludge. With their self-titled debut album in 2011, which CVLT Nation described as „straight killer no filler,” the band quickly gained attention and earned a reputation for their relentless live shows. Sharing the stage with notable acts such as Deafheaven, Oathbreaker, Tombs, Pelican, and Cancer Bats, Hierophant’s performances are nothing short of intense and ferocious.

In 2013, Hierophant released their Bridge Nine debut, „Great Mother: Holy Monster,” an eight-song powerhouse recorded by Steve Scanu and Simone Mularoni at Domination Studio. The album, mixed by Lorenzo Stecconi and mastered by Alan Douches, showcases the band’s mammoth sound and solidifies their place in the death metal scene.

Since then, Hierophant has continued to evolve and refine their sound. Their most recent album, „Death Siege,” written during the dark months of the pandemic, demonstrates the band’s growth and ambition. Described by guitarist and vocalist Lorenzo Gulminelli as „the best thing we ever did and the one album when Hierophant really comes into its own,” „Death Siege” is a testament to the band’s dedication to their craft.

With lyrics revolving around war, annihilation, and apocalyptic themes, Hierophant’s music is intense and relentless, designed to make listeners feel the impending destruction. The current lineup consists of Lorenzo Gulminelli on vocals and guitar, Fabio Carretti on bass and vocals, Gianmaria Mustillo on bass, and Ben Tellarini on drums. The Rockstadt Extreme Festival team is thrilled to have Hierophant as part of the 2023 lineup, providing death metal fans with a fantastic opportunity to experience the band’s controlled chaos live. Don’t miss Hierophant’s explosive performance at this year’s Rockstadt Extreme Fest, taking place near Râșnov Fortress in Transylvania from 2-6 August 2023!

HYPOCRISY – Death Metal

The legendary Swedish death metal band, Hypocrisy, is set to join our lineup this year, 2-6 August. We couldn’t be more grateful for having such an influential and iconic band with a 30-year history grace our stage.

Formed in 1991 by the multi-talented Peter Tägtgren, Hypocrisy has made an indelible mark on the death metal scene, exploring themes like the occult, conspiracy theories, astrobiology, societal unrest, and mental illness. The band’s distinctive sound has evolved over the years, starting as uncompromising traditional death metal before transitioning into a more melodic, yet still punishing sound that has continued to captivate fans worldwide.

Throughout their impressive career, Hypocrisy has released numerous critically acclaimed albums, including ‘Hypocrisy’ (1999), ‘Virus’ (2005), ‘End of Disclosure’ (2013), and their most recent masterpiece, ‘Worship’ (2021). With Peter Tägtgren on guitars and vocals, the long-time member Mikael Hedlund on bass, and session drummer Henrik Axelsson, the band’s current lineup showcases the perfect blend of talent and passion for their craft.

We’re truly fortunate to have Hypocrisy in our lineup this year, and we can’t wait to see them unleash their raw energy and uncompromising sound on stage. As we count down the days to Rockstadt Extreme Festival, we hope you share our enthusiasm and join us in celebrating the undeniable talent and legacy of Hypocrisy!

I AM MORBID – Death Metal

The culmination and reincarnation of David Vincent and Pete Sandoval’s glory days with MORBID ANGEL, I AM MORBID continues the legacy of one of the most important and influential death metal bands in history.

In a May 2019 interview with Jorge Botas of the “Metal Global” radio show, which airs on the Portuguese public TV and radio broadcaster RTP, Vincent said that he had every right to perform MORBID ANGEL‘s classic songs with I AM MORBID.

“Times come and life works the way that it does,” Vincent said. “And there are times when… It’s like a marriage — sometimes they don’t always work forever. But that doesn’t mean that the children that we’ve had together, that I don’t still love my children. Although Trey (Azagthoth, MORBID ANGEL guitarist and sole remaining original member) and I have some irreconcilable differences, that doesn’t in any way preclude me from still having the love and the passion for all of my children.”

Asked what he has to say to people who insist that he should not play MORBID ANGEL‘s early material without the other members of the group’s classic lineup, David said: “There’s examples of this very situation… I mean, when Ozzy (Osbourne) left BLACK SABBATH, that didn’t stop him from playing ‘Paranoid’ every night, even though he didn’t write the song. All of the songs that I’m singing I wrote. So I don’t really understand that. But different people become attached to different things. And they have their opinion and I have mine. And I don’t really consider this kind of negativity. I don’t have it in my life.”

IGORRR – Avant-garde Metal · Breakcore · Experimental Metal

Igorrr is the pseudonym of French multi-instrumentalist and electronic producer Gautier Serre of electronic grindcore project Whourkr. His solo work, which includes chaotic efforts like Nostril (2010), Savage Sinusoid (2017) and Spirituality and Distortion (2020), combines frenetic breakbeats with operatic vocals, metal riffs, gypsy violins, and a multitude of other sounds, resulting in an intense, disturbing, and undeniably distinct experience.

The unique blend of meticulous drum programming and acoustic instrumentation on his self-released demos Poisson Soluble (2006) and Moisissure (2008) garnered attention from Berlin-based experimental label Ad Noiseam, who issued his proper debut Nostril in 2010. Its companion EP, Baroquecore, was also released that year on Aentitainment. The refined complexity of these releases earned him positive critical response from French publications Les Inrockuptibles and Trax, as well as airtime on commercial radio. Ad Noiseam reissued his demos as a double-CD in 2011. 2012 found him expanding further on his use of live instruments on his second proper full-length, Hallelujah, a collection of pieces intended to signal the apocalypse and featuring a myriad of collaborators ranging from Baroque singer Laure Le Prunenec to Mayhem guitarist Teloch.

In 2013, a 7″ of remixes with ragga junglist Bong-Ra was released on PRSPCT RVLT. It was followed one year later by the Maigre EP on Ad Noiseam, a collaboration with Ruby My Dear. After a few years of silence, Igorrr signed to legendary metal label Metal Blade, which released his full-length, Savage Sinusoid, in 2017. The album was completely devoid of samples, and featured several guest musicians, including members of Cattle Decapitation and Secret Chiefs 3. 2020’s bold Spirituality and Distortion saw Igorrr continuing to riff on his idiosyncratic experimental metal style.


IMMOLATION – Death Metal

Immolation, one of the most influential death metal bands to emerge from the United States, is set to bring their raw power and technical prowess to the Rockstadt Extreme Festival in Transylvania this year (2-6 August).

Formed in Yonkers, New York in 1986, Immolation has been a prominent force in the New York death metal scene along with Incantation, Mortician, and Suffocation.

Led by guitarist Robert Vigna and vocalist/bassist Ross Dolan, the band has released eleven studio albums to date, including their debut album „Dawn of Possession” (1991), „Here in After” (1996), „Failures for Gods” (1999), „Close to a World Below” (2000), „Unholy Cult” (2002), and „Atonement” (2017). Their most recent effort, „Acts of God” (2022), further refines their signature blend of old and new school death metal.

Immolation’s musical style relies heavily on dissonant harmonic patterns, complex rhythm and drum patterns, and fast tremolo picking mixed with power chords and pinched harmonics. Guitarist Robert Vigna is considered one of the most talented death metal guitarists, while Ross Dolan’s intense vocal delivery and bass playing provide the perfect complement to Vigna’s guitar work.

Over the years, Immolation has explored a variety of lyrical themes, from anti-religion, particularly anti-Christianity, to politics and the darker side of humanity. The band’s shift in lyrical themes was motivated by current events, as Ross Dolan explained: „we started to focus more on the darker side of humanity. Which we did already with the religious themes, of course, because that was a very dark part of our history.”

Immolation’s live performances are nothing short of legendary, with the band’s uncompromising energy and passion leaving audiences in awe. As we eagerly anticipate Immolation’s performance at Rockstadt Extreme Festival this year, we invite you to join us in celebrating the band’s remarkable talent and unique sound that has made them a staple of the death metal scene. Don’t miss out on the chance to witness this legendary band live on stage, and prepare yourself for an intense and unforgettable experience.


IMPALED NAZARENE – Black Metal · Crust Punk

Finnish death metal legends Impaled Nazarene formed in 1990 originally consisting of brothers Mika and Kimmo Luttinen (vocals and drums, respectively) along with Mika Pääkkö (guitar), Ari Holappa (guitar), and Harri Halonen (bass). By 1992, the band had recorded a couple of demos and opened shows for bands like Sentenced, Amorphis, and Belial. The exposure attracted Finnish label Osmose Productions, who added them to their roster. After rearranging their lineup, replacing Holappa and Halonen with bassist Taneli Jarva and guitarist Jarno Anttila, Impaled Nazarene recorded their debut album Tol Cormpt Norz Norz Norz, which surprisingly hit number 40 on the Finnish charts. In 1993 they released their second album Ugra-Karma along with an EP entitled Satanic Masowhore. Suomi Finland Perkele, originally titled Hail to Finland, was released in 1994 and was banned by major chainstores due to lyrical content. During a 1995 recording session K. Luttinen quit the band and was replaced by Reima Kellokoski. After a European tour the band returned to the studio to record the album Latex Cult and the EP Motorpenis.

At the end of the recordings Jarva left the band and was replaced by Jani Lehtosaari. In 1996 they toured Europe extensively, playing with Dark Tranquillity, Cannibal Corpse, Immolation, Angel Corpse, Gehennah, and Vader. Hare Krishnas slapped a lawsuit on the band and Osmose in 1997, claiming the cover art for Ugra-Karma was offensive. Osmose settled the case and re-released the album with a different cover. Their sixth release, Rapture, hit the stores in 1998 which they followed with extensive touring through Europe, the U.S., and Mexico. They went back to the studio in 1999 to record a split 7″ with Driller Killer and the album Nihil, that features yet another lineup change with Alexi „Wild Child” Laiho replacing Mika Pääkkö on guitar. Osmose followed Nihil by releasing the compilation Decade of Decadence that includes demos, unreleased tracks, and the long out of print Goat Perversion EP.


IMPERIAL TRIUMPHANT – Avant-garde Metal · Jazz Fusion

Imperial Triumphant are an experimental, blackened, jazz-metal band from New York City. Led by vocalist and guitarist Zachary Ilya Ezrin, their sound employs dissonant, experimental sonics, technical black metal, vanguard jazz, and neo-classical tenets. Since issuing 2012’s acclaimed Abominamentvm, they have undergone several lineup changes, played festivals across the United States and Europe, and issued EPs, singles, and long-players for a variety of labels including Gilead Media and Century Media. 2018’s Vile Luxury was a collectively written concept offering with New York City as its central character and speaking subject. It won acclaim for incorporating jazz harmonics, improvisation, and varied instrumentation. 2020’s Alphaville doubled down on the muscal exploration to global accolades. 2021’s An Evening with Imperial Triumphant was recorded live at NYC’s Slipper Room cabaret. 2022’s Spirit of Ecstasy included horns and numerous guests including Testament guitarist Alex Skolnick, Voivod vocalist Denis „Snake” Belanger, and smooth jazz saxist Kenny G.

mperial Triumphant signed a record deal with Sony’s Century Media in 2019, and entered the studio in early 2020 with New York City once more as its muse. With producer Trey Spruance they used Vile Luxury as a sonic blueprint for an even more adventurous journey. They tracked with Marston on additional guitars (as well as in his by-now-customary roles mixing and mastering) and guests who included Meshuggah’s Thomas Haake on taiko drums, a choir led by Ohara, a barbershop quartet (all parts sung by R.K. Halvørson), strings, and J. Walter Hawkes’ multi-tracked trombone. Wildly experimental and titled Alphaville after French director Jean-Luc Godard’s 1965 dystopian futurist sci-fi film, the recording all but erased the dividing lines between avant-jazz and classical music, black metal, prog, and industrial rock. In addition to seven original songs, the set included innovative covers of Voivod’s „Experiment,” and the Residents’ „Happy Home.”

Though recorded before the shadow of the COVID-19 pandemic fell across the globe, Alphaville was released in July 2020. It won accolades from jazz and other critics outside the extreeme metal community for its groundbreaking meld of sounds, genres and textures. The band followed it with An Evening with Imperial Triumphant in 2021; the set was recorded at NYC’s Slipper Room, a storied cabaret and comedy venue. The trio were joined by trumpeter Benjamin Hankle on the date. In July 2022, Imperial Triumphant returned with their fourth studio longplayer, Spirit of Ecstasy. The trio enlisted a brass section, strings, and a range of guests including vocalist Yoshiko Ohara, guitarists Alex Skolnick (Testament), Trey Spruance (Mr. Bungle), Max Gorelick, and his dad, smooth jazz superstar, Kenny G on the track „Merkurius Gilded.”


IN FLAMES – Alternative Metal · Melodic Metal

In a music scene full of seemingly endless subgenres and transient trends, In Flames are an example of what it means to steadfastly stay true to your vision. Since forming in Gothenburg, Sweden, in 1990 the legendary melodic metal act have toured the planet countless times and influenced many of today’s biggest metal acts without ever ceasing to push their own signature sound forward. In that spirit the band’s twelfth full-length Battles sees In Flames eschewing proven formulas in favor of trying new things, most notably finding a new collaborator in Grammy-nominated producer Howard Benson (My Chemical Romance, The Used ) who was brought into the band’s coveted inner circle in order make Battles an album that will appeal to every type of In Flames fan.

“This album came together much sooner than we thought it would,” guitarist Björn Gelotte explains when asked about the writing process. “I was very reluctant in the beginning but I had a bunch of riffs so I just sat down with [vocalist] Anders [Fridén] and started working on stuff and it began to come together really quickly.” Before bringing things to bassist Peter Iwers and guitarist Niclas Engelin, the duo decided to leave the comforts of Sweden for Los Angeles where they would write all day and then BBQ and drink beer until the early hours of the morning. “I think being in California really affected this album in the sense that we had a studio in the house that we were staying at and the vibe was really relaxed which lent itself to productivity,” Fridén adds.

In fact although the band were only planning on recording 11 songs they actually came away with 15 of them and this inspiration was partially due to Benson’s influence on the overall process. “I think it really helped having a producer who could make us focus on what we needed to accomplish and keep us on track,” Fridén continues. “This was a very new approach for us because we’ve never let anyone else in the way we did with Howard,” Gelotte adds. “We met with a lot of producers prior to starting this album and he seemed like the only guy who didn’t want to change anything; he just wanted to make sure we were making the best In Flames record that we could and it just felt right,” he continues. “It’s not that we aren’t happy doing things ourselves. we just thought we would try something different because that’s what this band has always been about.”

That confidence and palpable excitement is dripping all over Battles from the instantly infectious “take the power back” anthem “The Truth” to the jaw-dropping technical brutality of “Through My Eyes” and distinctive groove and climactic chorus of the album’s title track. In other words, the album sees the band making the hooks sharper, the riffs tighter and honing the overall attack in a way that parallels their legendary live shows in an unparalleled fashion. “When people hear this album I think they’re going to instantly know that it’s the new In Flames without us repeating the same song over and over and that’s something I’m incredibly proud of,” Fridén says. “There’s something in the fingers of the guys and my voice that’s undeniable but I really hope that our songwriting is something can continue to evolve the way that it did here in the future.”

That relentless drive to innovate in light of their success is something that’s been inherent in In Flames’ approach from day one and it’s something they’ve never lost sight of despite their countless accolades and constant reinventions. ”We decided early on we are going to do this band our way and aren’t going to think about what the flavor of the month is,” explains Gelotte. “In the end we are the ones who are going to have to play these songs and stand behind them and as long as we love what we you do and make the listener feel it then that’s what makes it an In Flames song,” he continues. “That may sound like a cliché but it’s true. We need the music to be as interesting to us as it is to our fans because this has never just been a job for us, it’s a way of life.”

This mission statement to be working as evidenced by the fact that In Flames’ audience is a wide range of ages, genders and music fans, which is ultimately due to the fact that the band have never tried to be something they’re not. “The beautiful thing about this band is that you can do whatever the fuck you want and that’s the whole point of the music because all of the restrictions and labeling kills it in a way,” Gelotte summarizes. “This time around we had the Howard filter to come in and give us a new perspective on how we could approach this songs but ultimately what it comes down to is very simple: Is it good or is it bad? If it’s something that all of us can stand behind and be proud of then we know that it’s an In Flames song.”


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