ROCKSTADT EXTREME FESTIVAL 2023 | TRUPE. PART 7

admin mai 25, 2023 No Comments

THERION – Symphonic Metal

Therion is a pioneering Swedish symphonic metal band founded and led by multi-instrumentalist, composer, and vocalist Christofer Johnsson. Originally designed as a death metal band, Johnsson took the name from the Celtic Frost album To Mega Therion. By the time they issued their third album, 1993’s Symphony Masses: Ho Drakon Ho Megas, Johnsson remained the only original member and Therion’s sound began an evolution toward doom metal with electronic and avant-garde elements. For 1996’s Theli, the band’s sound adopted Persian modes and scales, and was performed by a rock quintet, two classical choirs, a simulated orchestra, and an army of keyboards. 1998’s Vovin found Johnsson recording with completely different musicians than he toured with, while 2001’s Secret of the Runes was based on lyric themes from the nine worlds of Norse mythology.

Johnsson inexplicably added covers of the Scorpions’ „Crying Days” and ABBA’s „Summer Night City” to that concept album. In 2004, the band released Lemuria and Sirius B simultaneously – 171 musicians participated in the recording sessions, including the City of Prague Philharmonic Orchestra and a 32-voice classical choir. 2007’s conceptual Gothic Kabbalah featured five vocalists – three females and two males – amid their most ambitious musical settings and prog rock production tropes yet. 2010’s Sitra Ahra was a perfect meld of Therion’s classical aesthetics and doom metal. 2012’s Les Fleurs du Mal consisted of covers of French chansons and pop songs performed in the band’s symphonic style. In 2017, Therion issued the three-hour rock opera Beloved Antichrist. They followed with the first volume in the Leviathan project in 2021. Each album sought to reflect the different sonic eras in the band’s history while delivering all new material. Leviathan II followed in 2022.

In January 2021, Therion issued Leviathan. Written by Johnsson and Vikström, it was conceived as a trilogy to give fans a solid, end-to-end trilogy of „Therion hit songs,” even though all the material was current. The set’s personnel lineup featured the return of Koleberg on drums, and included a guest vocal appearance from Nightwish bassist and vocalist Marko Hietala. Leviathan II, issued in October of the following year, revisited the mystic, melancholic sonic aura of their groundbreaking 1998 work, Vovin, while the projected third entry, plotted for September 2023, would focus on the band’s „braver orchestral songs.”

 

TRIPTYKON – Doom Metal

Switzerland’s Triptykon is a truly avant-garde, extreme rock band. Their sound simultaneously embraces doom, gothic, black, and more recently, symphonic metal. They were initially intended as a side project of Tom Gabriel Fischer’s (aka Tom Gabriel Warrior), the group’s singer, guitarist, keyboardist, and principal songwriter, so it makes sense that their sound is steeped in tension and darkness as well as dissonance and experimentation, as evidenced by their 2010 debut offering Eparistera Daimones. Since that time, they haven’t exactly been prolific, but are readily visible as a prime mainstay at heavy metal festivals and concert halls. Their second album, 2014’s Melana Chasmata, was even more compressed and dynamic than their debut. Warrior is always at work, writing, arranging, and experimenting with recording techniques, but he seldom issues finished records given his standards for perfection.

Triptykon was established in May of 2008 to further develop the musical directions instigated by its predecessor, black/extreme metal pioneers Hellhammer and, in particular, Celtic Frost: both bands were founded or co-founded and led by Warrior. Triptykon was so named to identify it as his third major project. Singer, guitarist, and principal songwriter Warrior assembled the group in order to complete a project begun by Celtic Frost that remained unfinished when they permanently split in 2008. In addition to their founder, the initial lineup included guitarist/vocalist V. Santura (Dark Fortress), bassist Vanja Slajh, and drummer Norman Lonhard (ex-Fear My Thoughts). The band debuted in 2010 with the globally acclaimed album Eparistera Daimones (with cover art by Warrior’s close friend H.R. Giger), on Century Media. It was reissued later that year with an added five-track EP entitled Shatter as a box set called Eparistera Daimones: The Complete Sessions. The band took to the road and won over fans across Europe, becoming a top festival draw. While many critics considered their debut a logical conclusion to the experiments Warrior conducted with Celtic Frost, it also showcased his anger with his former bandmates.

In 2016, Lonhard left Triptykon and was not immediately replaced. The following year, Warrior was commissioned by the Roadburn Festival in Tilburg to create and perform material. He’d been struggling with the conclusion of a multi-part Celtic Frost triptych called Requiem for more than three decades. While its first part, „Rex Irae,” had appeared on 1987’s classic Into the Pandemonium, its seeming conclusion appeared almost 20 years later on the Celtic Frost reunion offering, Monotheist, in 2006. Working with Triptykon and specially curated brass, string, and percussion musicians from the prolific Dutch Metropole Orkest under the direction of conductor Jukka Iisakkila, he completed a 32-minute bridge composition entitled „Eternal.” It was premiered, recorded, and filmed at the 2019 Roadburn Festival with veteran drummer Hannes Grossmann (Alkaloid, Eternity’s End) as part of the lineup and Tunisian co-lead vocalist Safa Heraghi. The performance of the completed Requiem was widely and glowingly reviewed in the rock press. Century Media released the platter in several packages in May of 2020, with some including Blu-Rays and DVDs of the concert.

 

TRIVIUM – Heavy Metal · Metalcore · Thrash Metal

Orlando, Florida’s Trivium are among the most provocative, restless, and influential bands to emerge from the American South’s heavy metal explosion in the early 21st century. Beginning as a metalcore outfit, they have relentlessly combined and crossed styles including thrash, prog, technical, and melodic death metal, as well as alternative and groove metal. Trivium came by their global success the old-fashioned way: touring. Since issuing their first demo in 2000, they have been road warriors. They established themselves first in the South, and then across North America before conquering festival stages in Europe and Asia supporting their sophomore long-player Ascendancy in 2005. 2008’s Shogun showcased epic storytelling abilities as well as a love for innovative riffs. Its compositional tenets and love for narrative storytelling influenced each subsequent release, beginning with 2011’s In Waves. 2017’s The Sin and the Sentence used them inside an extreme metal setting and became one of their most acclaimed albums, selling better in Europe than it did in the States. 2020’s What the Dead Men Say fully integrated all their musical tenets. 2021’s In the Court of the Dragon was written and recorded during the COVID-19 pandemic.

Hailing from central Florida, Trivium formed in 1999 and quickly built a buzz around Orlando’s metal community with their blend of metalcore, thrash, and progressive metal. Having secured a contract with the German Lifeforce imprint, the band issued its debut album, Ember to Inferno, in October 2003 with a lineup that included vocalist/guitarist Matt Heafy, drummer Travis Smith, and bassist Brent Young. The debut was well-received and Trivium signed with Roadrunner Records for their next effort. Ascendancy appeared in March 2005, at which point the band’s roster had shifted to include Heafy, Smith, bassist Paolo Gregoletto, and guitarist Corey Beaulieu. The album was reissued in May of the following year with four additional tracks and a bonus DVD. Trivium then visited the U.K. in June for the 2006 Download Festival, followed by multiple European headlining gigs and a stint with America’s traveling metal/hardcore fest Sounds of the Underground. The tour saw them playing alongside other heavy-hitting bands like As I Lay Dying, GWAR, Cannibal Corpse, and Terror.

Crusade appeared that fall, featuring a newfound emphasis on singing (previously, vocalist Heafy had relied on screams and throaty growls). Despite the band’s active defense of Heafy’s vocal approach, Trivium received much criticism for their shift in sound; accordingly, they wasted no time in returning to a scream-filled thrash style with 2008’s Shogun. In 2010, Trivium announced drummer Nick Augusto would be replacing the departing Smith. Later that year, the band went into the studio to begin work on their fifth studio album, In Waves, which was released in the summer of 2011 and saw the group bring a bold new approach and maturity to its songwriting. However, feeling that the album’s gestation process had been overlong and that they had produced too much material, they decided to focus on quality rather than quantity in the on-the-road writing sessions for their next record. The band tapped Disturbed’s David Draiman to produce, and the metal veteran took a real hands-on approach, bringing a newfound sense of melody to Trivium’s sound. The finished album, Vengeance Falls, was released in October of 2013; it received enthusiastic reviews from critics and charted well in the United States, the U.K., Japan, and Europe.

Trivium underwent yet another personnel change when they parted company with drummer Augusto in May of 2014. He was replaced by drum tech Matt Madiro. Late in the year, Trivium entered the studio with producer Michael „Elvis” Baskette and mixing engineer Josh Wilbur to begin work on the band’s seventh album. The title track, „Silence in the Snow,” was issued as a video single in July of 2015, and the album followed on Roadrunner in early October. Silence in the Snow was their first full-length to land on the Active Rock Top Ten and secured them headliner status for the European festivals Summerbreeze and Bloodstock. After the release of the album, Madiro left the band and was succeeded by Paul Wandtke, who lasted less than a year before being replaced by Alex Bent. In late 2016, Trivium partnered with Cooking Vinyl to re-release Ember to Inferno in several variations. The two deluxe editions contained the band’s earliest demos, including „Ruber” (aka the Red Demo), „Caeruleus” (aka the Blue Demo), and „Flavus” (aka the Yellow Demo), all recorded when Heafy was between 16 and 17 years old. Late 2017 saw the release of the band’s eighth studio long-player, The Sin and the Sentence, which was produced by Josh Wilbur and released on Roadrunner. The set peaked at number 23 on the Top 200, and landed in the top spot on the Hard Rock Albums chart. After extensive touring and a well-deserved break, the band re-entered the studio with Wilbur in late 2019. In February of the following year, Trivium’s members began adding cryptic messages to their social media accounts to attract interest for their upcoming album. They further teased its release with two songs – „IX” and „Scattering the Ashes” – added to the „Spawn” trailer for the Mortal Kombat video game in March.

Trivium delivered their ninth full-length, What the Dead Men Say, in April. Original bassist Brent Young died on September 25, 2020; he was 37 years old. Sidelined by the global quarantine imposed by the COVID-19 pandemic, Trivium wrote and recorded the Wilbur-produced In the Court of the Dragon while in isolation; it was released in October 2021.

VILLAGERS OF IOANNINA CITY – Folk Rock

The Epirus-based VILLAGERS OF IOANNINA CITY, deeply influenced by Greek nature and cosmic phenomena, return to deliver an explosive performance on the big stage with their fusion of heavy psychedelic rock and folk instruments! Formed in 2007, since the release of their first album Riza (2014), VILLAGERS OF IOANNINA CITY have performed at the biggest rock festivals and numerous sold-out shows in the biggest music scenes in Greece. Now, the band is ascending forth for their first live album! Delivering amazing performances from the band’s short but powerful discography, Through Space and Time (Alive in Athens 2020) is set to be released via Napalm Records on March 3, 2023. The performance is structured around the band’s most recent studio album, Age of Aquarius (2019), as they play the album in sequence, with additional singles and songs from their debut album spliced in. Beginning with “Welcome”, “Age of Aquarius”, and “Part V” all in sequence, VILLAGERS OF IOANNINA CITY demonstrates their ability to tell their story from song to song in the overall context of their album and show. The band then jumps straight into their debut album, Riza (2014), playing “Nova”, “Perdikomata”, and “Skaros”. The sextet blows away the audience with fantastic performances

 

WHILE SHE SLEEPS – Metalcore

A British metalcore group with a knack for pairing crushing riffs and uncompromising breakdowns with soaring melodic hooks, While She Sleeps emerged in 2012 with the unrelenting This Is the Six. Since then, the band has issued a string of acclaimed EPs and albums, including 2017’s You Are We, which cracked the U.K. Top Ten, and 2021’s wide-ranging Sleeps Society.

A shared love of heavy metal and, more specifically, metalcore, ensured that the members of While She Sleeps continued the bond they formed at school in Sheffield, England long after their final exams were over. In 2006, singer Jordan „The Face” Widdowson, drummer Adam Savage, bassist Aaran McKenzie, and guitarists Mat Welsh and Sean Long decided to get together after playing in various other groups in the area. The bandmembers played shows regularly for the next three years, and Widdowson eventually bowed out, leaving the door open for Lawrence Taylor to step in on vocals.

Not letting this setback halt their progress, and following extensive touring of their own, While She Sleeps went into the studio with producer Carl Bown in November 2011 and recorded their debut full-length, This Is the Six. The album, released in 2012, was a huge step up sonically for the band, displayed best on the anthemic title track and lead single. In the months leading up to the release of This Is the Six, While She Sleeps played the Download Festival and won the Kerrang! Award for Best British Newcomer. Brainwashed, the band’s much-anticipated sophomore outing, dropped in 2015 and featured the singles „New World Torture,” „Four Walls,” „Trophies of Violence,” and „Our Legacy.” September 2016 saw the release of „Civil Isolation,” the first single from their crowd-funded third studio long-player, You Are We, which arrived in May of the following year and debuted on the U.K. Albums Chart at number eight.

2019’s So What? saw While She Sleeps flexing their creative muscles by incorporating elements of electronic and alternative rock into their sonic arsenal, a template they utilized again on their dynamic fifth long-player, 2021’s Sleeps Society which, like its predecessor, was released on the band’s independent label Sleeps Brothers in collaboration with Search and Destroy, Spinefarm, UNFD, and Universal Music.

WHITHIN DESTRUCTION – Deathcore

ZEAL & ARDOR – Avant-garde Metal

The black metal, blues, and African-American fusion of Zeal & Ardor’s music is the brainchild of musician Manuel Gagneux. He moved from his native Switzerland to New York, and took up the moniker Zeal & Ardor, having previously released music under the name Birdmask. The chamber pop of his Birdmask recordings is a far cry from the darker, heavier music he created for his Zeal & Ardor debut Devil Is Fine. He released the record in 2016, and Gagneux claims the project was kickstarted by a thread on a music board on the website 4Chan, on which he posted anonymously. On hearing the record, some music journalists were convinced that the vocal chants were samples of old spirituals, but Gagneux insisted that all the vocals were his own work.

During the process of touring the record, Gagneux developed the project into a full band. Building on the fusion of black metal and gospel of his previous album, he created the ambitious follow-up Stranger Fruit. The acclaimed 16-track record was produced by Zebo Adam and preceded by the lead single „Gravedigger’s Chant.” The group’s first EP, Wake of a Nation, was written in direct response to the murder of George Floyd and was released in October 2020. In the summer of 2021, the group began the rollout for their self-titled third album with singles „Run” and „Erase.”

 

ROCKSTADT EXTREME FESTIVAL 2023 | TRUPE. PART 6

admin mai 25, 2023 No Comments

 

RITUAL ROADMAP – Death’n’Roll

RITUAL ROADMAP is a death’n’roll band hailing from Brasov, Romania. The group was formed in March 2020 by a group of old friends and members of the Brasov metal scene, including Silviu on vocals (The Killing Moon, ex. We Are Numbers, Ordinul Negru, Deliver the God), Vic on guitar (ex. Nomad, Black Swan, Lotul Național de Hardcore), Cristi on bass (ex. We Are Numbers, Deliver the God), and Cipanu on drums (Ktera, ex. Lotul Național de Hardcore, Michelangelo).

As self-proclaimed old-school fellows, RITUAL ROADMAP is all about raw energy and the intense, gritty sound of death’n’roll. Their music is a fusion of old-school death metal and classic rock’n’roll, with infectious riffs and grooves that are sure to get you headbanging and tapping your foot. The band’s debut album is a testament to their love of the genre, with each track showcasing their unique take on the death’n’roll sound.

This year, RITUAL ROADMAP will be performing at Rockstadt Extreme Festival in Transylvania, near Râșnov Fortress, from 2-6 August. Fans of the genre are sure to be excited for their set, which promises to be a high-energy, headbanging good time. If you’re a fan of death metal or classic rock’n’roll, be sure to check out RITUAL ROADMAP’s performance at the festival.

 

SACRED REICH – Thrash Metal

CO-HEADLINER

Sacred Reich este o trupă de trash metal din Phoenix, Arizona care s-a înființat în anul 1985. Alături de Testament, Death Angel și Destruction, aceasta a făcut parte din al doilea val de trash. Trupa a trecut testul timpului.

Sacred Reich a fost o parte integrală din mișcarea trash a anilor ‘80 și ’90, aceștia lansând nu mai puțin de 4 albume până la despărțirea din 2000.
23 de ani după ce au lansat primul lor disc, Sacred Reich se întorc pentru a demonstra că ei sunt o forță a genului metal. Aceștia sunt cunoscuți pentru solourile incredibile și pentru mesajele sociale care arată cât de ancorați sunt la lumea înconjurătoare.

În anul 2018, aceștia au început să lucreze la un nou material, numit Awakening. ” Toboșarul nostru, Dave (McClain, ex-Machine Head) se afla încă în turneu cu fosta lui trupă, așa că Tim Radziwill a cântat la tobe și la demo-urile alături de fiul său Joey, înregistrările având loc în propriul lor studio. Nu am fi ajuns aici fără ajutorul lor, iar colaboarea cu ei a fost foarte pozitivă, cool și distractivă. „- declară trupa. „Toată implicarea, felul în care contribui la procesul creativ, atitudinea; totul se reflectă în produsul final. De aceea am încercat să facem totul ca la carte- și când spun asta, mă refer că am fost foarte deschiși la colaborări.”

Reîntoarcerea lui Dave McClain, care a cântat la tobe între 1991 până în 1997 și aducerea chitaristului Joey Radzivill, alături de vechiul chitarist Wiley Arnett sunt părți fundamentale ale acestui material.
Cât despre Joey Radiwill, deși are 22 de ani, are niște aptitudini ieșite din comun. Înainte de Sacred Reich, acesta a fost în 3 turnee americane cu alte trupe. Acest album, Awakening, este primul lansat după 20 de ani.
„Albumul comprimă ceea ce simt eu în legătură cu procesul creativ: cu toții ne putem descurca excelent atât timp cât ne concentrăm. ” Dacă ne raportăm la versuri, desigur că avem multă agresivitate, contrabalansată de foarte mult pozitivism și speranță- exemple în acest sens sunt „Manifest Reality” și „Revolution”- declară Rind.
Pentru înregistrarea acestui album, trupa a colaborat cu Arthur Rizk (Power Trip, Cavalera Conspiracy) și John Aquilino, iar Rind a insistat ca amândoi să lucreze la sunetul definitoriu al materialului Awakening.
„Prima zi de înregistrare s-a simțit ca un vis. Ne tot ziceam: Chiar facem asta! „- zice vocalistul. A fost o perioadă specială atât pentru vocalist cât și pentru Arnett să se afle împreună în același studio.

Sperăm să vă placă acest album pe care-l vom auzi live la Rockstadt Extreme Fest.

SLEEP TOKEN – Alternative / Indie · Progressive Rock

Enigmatic British band Sleep Token combines post-rock, post-classical, and post-metal tropes with soulful indie pop vocals into a blend that sounds like nothing else. They released their innovative debut album, Sundowning, in 2019 and found mainstream success two years later with the U.K.-charting This Place Will Become Your Tomb. The anonymous, masked collective unveiled their wildly diverse third full-length effort, Take Me Back to Eden, in 2023.

The group first appeared in 2016 with the self-released single „One.” Their schtick was unique, to say the least: Fronted by a mysterious masked figure known only as Vessel and professing to worship an ancient deity called Sleep, they framed themselves as a kind of cult whose songs were all acts of worship to the deity. Sleep Token’s music was equally original, blending tranquil post-rock instrumentation and soulful falsetto vocals with sudden eruptions of tech-metal brutality. Frenzied online speculation ensued as to the identity of the members, with the likes of Sam Smith, Hozier, and Bastille’s Dan Smith being put forward as candidates. The influence of artists like Deftones, Meshuggah, Explosions in the Sky, Bon Iver, and Ólafur Arnalds was apparent, but the whole was greater than the sum of its parts.

Sleep Token signed to Basick for their 2017 single, „Two,” then self-released a few more singles in 2018 before making the move to the Universal-distributed Spinefarm for their 2019 debut album, Sundowning. In an unusual move, every track off the LP was issued as a digital single prior to its release, over a period of six months. With a bigger budget than before, the album presented a widescreen version of the band’s sound, with more electronic elements, a pronounced R&B edge to the vocals, and a sludgier post-metal feel to the heavier parts. A deluxe version of Sundowning featuring four extra tracks appeared in 2020. 2021’s This Place Will Become Your Tomb provided the band with their first chart positions, debuting at number 39 on the U.K. Albums Chart and 13 on the Scottish Albums Chart. A string of wide-ranging singles, including the slow-burning „Chokehold” and propulsive „The Summoning,” heralded the arrival of their third long-player, 2023’s Take Me Back to Eden.

SOULFLY – Thrash Metal

Max Cavalera has been delivering punishing, neck-snapping riffs since the 1980s, first as a founding member of influential Brazilian thrash legends Sepultura, and later as the ringleader for the more cerebral, yet similarly punitive Soulfly. Emerging in the late ’90s, Soulfly’s sonic attack is built on a foundation of multiple subgenres of metal and worldbeat, drawing heavily from groove, thrash, nu-metal, and Brazilian tribal music. The band’s eponymous 1998 debut was certified gold, and paved the way for efforts like Conquer (2008), Archangel (2015), Ritual (2018), and Totem (2022), all of which garnered both critical and commercial acclaim. Throughout the group’s two-decade run, there have been multiple personnel shifts, with Cavalera being the only constant
member.

Upon his exit from Sepultura in late 1996, Cavalera almost automatically set out to form his next musical endeavor. Besides leaving one of the most popular heavy metal bands in the world, which he’d co-founded in the early ’80s, he also had to deal with the death of his best friend and stepson Dana Wells. Using music as therapy to overcome his depression, Cavalera put together a band that included Roy „Rata” Mayorga on drums (ex-Thorn) and Jackson Bandeira on second guitar (ex-Chico Science), while former Sepultura roadie Marcello D. Rapp rounded out the quartet on bass. Their Roadrunner-issued self-titled debut album was released in the spring of 1998, and eventually went gold. Soulfly’s second album, 2000’s Primitive, was their highest-charting LP to date, and featured guest spots from Corey Taylor of Slipknot and Stone Sour, Sean Lennon, Chino Moreno of Deftones, and Tom Araya of Slayer, among others. Cavalera handled the production for 2002’s III, which marked the studio debut of guitarist Marc Rizzo and featured the ballad „Tree of Pain,” a heartfelt tribute to Dana Wells. 2004’s Prophecy featured a completely re-tooled lineup and adopted a more spiritual tone. 2005’s Dark Ages took a more brooding and savage approach, fueled in large part by the deaths of Cavalera’s eight-year-old grandson and close friend Dimebag Darrell.

 

In 2007 Cavalera began collaborating with brother and former Sepultura drummer Igor on a project called Cavalera Conspiracy. The duo made its live debut that August as the opening act for Soulfly, and went on to release an album, Inflikted, for Roadrunner in 2008. Soulfly’s sixth full-length offering, the punitive Conquer, arrived in July 2008, and included guest appearances by Morbid Angel’s David Vincent and Throwdown’s Dave Peters. Omen, the band’s seventh studio long-player, arrived in 2010, followed by Enslaved in 2012, the latter of which saw the group leaning into their death metal influences with the help of special guests Dez Fafara of Coal Chamber and Travis Ryan of Cattle Decapitation. Throughout that year, the band toured their own „Maximum Cavalera” package, featuring three bands all fronted by members of the Cavalera family: Soulfly, Incite, and Lody Kong. For the next album, the band moved from their longtime home of Roadrunner Records to Nuclear Blast, and Cavalera’s youngest son Zyon took over on drums. The effort, entitled Savages, was produced by Terry Date and released in October 2013. The band began recording a follow-up almost immediately with producer Matt Hyde. The finished product, Archangel, was issued in 2015. Their shortest record at just over 36 minutes, it was also their last with longtime bassist Tony Campos, who left to join Fear Factory shortly after the album’s completion. The band returned to the heavy, groove-laden sonic punch of past efforts like Primitive and III on their 11th full-length effort, 2018’s hard-hitting Ritual. Max and Zyon spent two years writing the band’s 12fth groove-metal opus, the sonically brutal yet vibrant and life-affirming Totem. The first Soulfly effort since 2002 to not feature longtime guitarist Marc Rizzo, who left the fold in 2021, Totem appeared in 2022.

 

SPECTRAL WOUND – Black Metal

Montreal, QC black metal band SPECTRAL WOUND play virulent towering melancholic black metal. With their new album “A Diabolic Thirst”, which follows 2018’s “Infernal Decadence”, the band take their own methodology of Quebecois black metal through vicious sonic layers that culminate in six triumphant ferocious hymns where blood freezing melodies and harsh yet massive overtones bring a decadent and euphoric flow to this glorious masterwork the band have conjured. Another black metal triumph emanating from Canadian soil, one exposing once again the richness of Quebec’s unparalled black metal scene, “A Diabolic Thirst” not only captures that pure classic melodic black metal essence that was eminent in the late ‘90s/very early ‘00s but also serves its purpose today as a masterowk of glorious blackened magnitude.

 

THE OCEAN – Doom Metal · Post Metal

Berlin-based the Ocean (also known as the Ocean Collective) are a forward-thinking extreme music ensemble led by founder, guitarist, composer, and conceptualist Robin Staps. Their sound is a hybrid comprised of progressive, atmospheric sludge, doom metal, and even post-hardcore. Almost all of their music is conceptual, obsessed with geologic, prehistoric, and philosophical themes – sonically, much of it is ferocious in execution, weaving organic and electronic sounds and samples. With an ever-changing lineup of various on- and off-stage musicians and visual artists, the relentlessly touring group have become well-known for their immense, mind-expanding live shows. Beginning in 2005, their releases were issued by Metal Blade in the U.S. and their own Pelagic label in Europe. 2007’s Precambrian is musically brutal and intellectually brainy; its songs are steeped in arcane and scientific knowledge of the Earth’s geology. In 2010, the group issued two linked, critically acclaimed albums, Heliocentric and Anthropocentric. In 2013, Pelagial shifted direction due to its spiraling progressive metal architecture. 2018’s Phanerozoic I: Palaeozoic marked the first of two distinct sequels to Precambrian.

The Ocean entered the studio in February 2018 and began recording the two-part Phanerozoic. Based on the eon that succeeded the Precambrian supereon and spanning a 500-million-year period leading to the present day, it witnessed the evolution and diversification of plant and animal life on Earth, and the partial destruction of it during five mass extinction events. Conceptually and musically, the double-length Phanerozoic marked the band’s first look back; the missing link between the albums Precambrian and Heliocentric/Anthropocentric, it was crafted as a direct sequel to the former. Recorded and mixed by Jens Bogren, the set’s first single, „Devonian,” also featured Katatonia’s Jonas Renkse on lead vocals. Phanerozoic I: Palaeozoic appeared in November 2018. Phanerozoic II: Mesozoic | Cenozoic was due for release in the fall of 2019, but was pushed back a year. In July 2020, the single „Jurassic | Cretaceous” was released, featuring a return vocal appearance form Katatonia’s Renkse. The full-length appeared from Metal Blade in September 2020, alongside a separate release of instrumental versions from the band’s own label, Pelagic.

 

THE UNDERGROUND YOUTH – Post Punk

Originally hailing from Manchester, England, the Underground Youth make moody, often raw, ’80s-style post-punk infused with a darkly psychedelic vibe, heavily influenced by names such as The Brian Jonestown Massacre, The Velved Underground, Bob Dylan or The Jesus & Mary Chain. Formed in 2008, the Underground Youth was initially the solo project of singer, guitarist, and songwriter Craig Dyer.

Since the live band was assembled in 2012, TUY have been constantly touring Europe and the rest of the world, consistently selling out shows and receiving widespread praise for their festival performances. Building on their cult following wherever they travel.

With a distinct sound that has continuously developed over the years, TUY have crossed from their unique brand of darkly cinematic psychedelia to a raw and blisteringly style of post-punk. Focusing on contrasting beautiful melodies and dark poetic lyrics, the subconscious of this new album is penetrated by the raw energy and noise of the band’s current live shows.

 

ROCKSTADT EXTREME FESTIVAL 2023 | TRUPE. PART 5

admin mai 25, 2023 No Comments

MESSA – Doom Metal

MIDNIGHT – Black Metal · Speed Metal

Filthy, belligerent and obnoxious, Midnight make music to start fights to. Since 2003, one-man-band Athenar has been churning out an ungodly racket, dropping countless demos, splits and EPs, and in 2022 he returns with Midnight’s fifth full-length, Let There Be Witchery. Delivering more of what can be expected from his demented mind, it is a catchy mixture of black and speed metal and dirty punk rock, and it is relentlessly compulsive. „I always want it to be loud and nasty,” he asserts. „That kinda thing never gets old with me. How funny will that look to see me at age 77 – if I reach that point – sitting on the porch blasting Hellhammer?”

Generically describing it as being „a Midnight record”, Athenar believes it would make a fine introduction into the warped world he exists in for anyone new to the band, and he is not wrong, possessing all of Midnight’s trademarks, amped up to eleven. The profoundly sinister d-beat romp „Telepathic Nightmare” kicks things off unpleasantly, and from there he slams through the likes of riot-starter „Nocturnal Molestation”, the Motörhead-esque „Let There Be Sodomy” and loping bruiser „More Torment.” „I never really sit down and say, ‘okay, now I’ll start to make up some jams’ – they just get stockpiled. The tunes on this one started coming around early 2019. Writing catchily comes naturally to me – if something is difficult for me, I just don’t do it, so it has to be natural. I’m a person that says if at first you don’t succeed, fuck it. But yeah, catchiness and hooks are important to me.” When asked if there’s anything on this record he has never done before, he has a typically Athenar answer: „I used the term ‘vulva flesh’. I can’t believe it took this many albums to get to that point. There’s also the tune ‘Devil Virgin’ which has the Mercyful Fate disco hi-hat beat. That’s something different.” Guitar solos are of course also an important factor in any Midnight record, and Let There Be Witchery does not disappoint in this department. „All the solos have been spontaneous since the start of the band. I just give it a shot, then maybe stumble across a theme, then try it again and again and again. That’s the way I like solos to sound, spontaneous yet have some sorta map in there to follow, kinda like a methed up lunatic driving a car missing a wheel at top speed down a curvy highway on his way to get more meth. It’s not gonna be pretty, but you know he’ll find a way to get there somehow.”

The title is a combination of the song titles „Let There Be Sodomy” and „Szex Witchery”, Athenar wanting to maintain the tradition of using six syllables. Lyrically, the record is „unfiltered savage animalisticness”, and the deeper the listener delves, the dirtier they get, which is just the way it should be. When it came to tracking the record, Athenar returned to Mercenary Studios in Cleveland, OH and producer Noah Buchanan, who makes it very easy for him to cut loose and make noise, choosing to once again record all the instruments himself despite having a live band that could step in and help out. „It’s still just me and my science project gone awry. I realize I’m musically handicapped, but there’s a charm to it.” The sessions went by fairly quickly, and there were no real problems to navigate – it’s after the tracking that things got a little trickier. „The mixing process can take a bit more time because I have no idea what I want until I hear it. I keep telling Noah, ‘I want it to sound like a mix of Raw Power and Apocalyptic Raids!’ Then he has to sit me down and say, ‘those records already exist, let’s make it sound like Midnight.’ The most difficult part may be the vocals, just because I’m not usually in vocal shape, although this time around I was kind of in shape because we did so many gigs in 2019 that by the time it was recorded in February 2020, my throat was still used to being tortured.” With artwork once again handled by William Lacey, who always wants to make things suitably creepy, Athenar is very happy with that side of things and content that the record will be shat into the world in the way that it should be. Next comes touring, backed up by Commandor Vanik and Secret Steel, „they’re not a good live band, they’re a great live band! They are masters of their craft – those guys really hold it all together. I’m just meandering around bashing away and grunting.” Mulling over the question as to why anyone should actually give a shit about Midnight, he once again comes up with a typically Athenar answer: „If I were to give actual good advice, I would say stay clear of anything to do with Midnight. But I’m not a rational thinker, so as usual, I will give terrible advice and say punish your earholes and play this album as loud as your stereo goes, go out to a gig and mingle with others that you don’t know, lick their faces and rub upon each other’s sweaty torsos to the hellish, neanderthalish noise of a band called Midnight! You gotta release your demons somehow! That’s why you should give a shit, or two.”

MISþYRMING – Black Metal

Misþyrming (Icelandic pronunciation: [ˈmɪːsˌθɪrmiŋk]) are a black metal band from Reykjavík, Iceland. The band formed in June 2013 and are currently signed to the French record label Norma Evangelium Diaboli. They released their debut studio album Söngvar elds og óreiðu on 7 February 2015 to widespread critical acclaim. The band have since toured Europe and the United States, performed at Eistnaflug, and were named an ‘artist in residence’ at the famous Roadburn Festival in 2016.

The band started as founding member D.G.’s solo project. Tómas Ísdal, with whom he ran the Vánagandr record label, joined him. He eventually deferred his graduation date in favour of touring with the band, passing his final exams after being tutored by band-mate Helgi

On April 27, 2019 the band announced their long-awaited sophomore album would be titled Algleymi and was released on May 24 through Norma Evangelium Diaboli. According to D.G.; he wrote the music in 2015 after the release of the band’s debut and started recording it in 2016 however due to production and mixing errors caused by cheap equipment the album was delayed and entirely rerecorded from scratch, after finishing the final mix in early 2017 and realizing how critical the mistakes are. The band continued touring in spite of this and even played some of the new songs in concents throughout 2016, 2017 and 2018. In 2017 after extensive rehearsal of the material the band secured a professional studio to record a new version of the album which was done between autumn 2017 and 2018 and featured guest vocals by Sturla Viðar of Svartidauði and Wraath of Behexen, as well as the second lyrical contribution from poet and musician Kristófer Páll for one of the songs. Algleymi like its predecessor was very well received by fans and critics alike. The band also announced performances at Ascension Festival in their native Iceland and La Dernière Messe in Switzerland on June as well as headlining a European tour in support of Algleymi with Terratur Possessions label mates Darvaza and French band Vortex of End.

The band continued touring and performing throughout 2019 and had various planned performances for 2020 but due to the COVID-19 pandemic they were forced to reschedule their slots at festivals as well as reschedule their Denmark and Germany mini-tour with fellow Iceland band Naðra and abruptly ended their Eastern Europe tour, but not before the band live streamed their last show in Tallinn, Estonia on March 15, 2020, with the help of the venue’s; „Sveta Baar” staff and their touring company Damn Loud.

In late 2021 the band returned to touring and performing at various festivals, with the third leg of their tour in support of Algleymi after many delays. In February 2022 the band announced that had they amicably parted ways with drummer H. R. H., who was later replaced with Magnús Skúlason of Svartidauði. The band continued touring in 2022 and played for the first time in Greece. On October 7, the band announced their third album Með hamri, which was released on December 16 through Norma Evangelium Diaboli.

 

OBITUARY – Death Metal

Tampa, Florida’s Obituary are a veteran death metal band whose origins date back to the style’s first wave. Though they’ve endured lineup changes, three of its original members – drummer Don Hardy, vocalist Tom Hardy, and guitarist Trevor Peres – have been aboard since 1986. Their early sound juxtaposed lo-fi death metal and hardcore, while Hardy’s vocals, though screamed, were readily decipherable – this is no longer true and lyric sheets are necessary. Early albums including 1989’s Slowly We Rot and 1990’s Cause of Death embodied the chug and burn aesthetic. Following the release of 1997’s Back from the Dead, they split for several years.

In 2004, a reunited quintet recorded Frozen in Time. Xecutioner’s Return followed in 2007 to glowing reviews internationally. Darkest Day appeared in 2009. The band issued Inked in Blood in 2014 and Obituary in 2017. Three live albums and the single „A Dying World” were released between 2020 and 2022. In January 2023 the full-length Dying of Everything was released by Relapse.

Possessed and Death may have brought death metal to life, but it was Obituary who brought it to fruition. After releasing some demos as Xecutioner as far back as 1986, the five-man band – the Hardy Brothers, Peres, guitarist Allen West and bassist Daniel Tucker – debuted as Obituary in 1989 with Slowly We Rot; the album is a landmark in the evolution of death metal. Previous forays into the genre – primarily by the above-mentioned bands along with grindcore innovators Repulsion and Napalm Death – were exercises in relentlessness. These bands took the breakneck abandon of Slayer’s Reign in Blood one step further to the point of sheer musical excess and abandon. Obituary, on the other hand, varied their tempo considerably – and did so at the absolute height of speed metal.

Yes, the band could play at breakneck speed, but within the same song, guitarists Allen West and Trevor Peres could slow the tempo down to dirge-like levels at a moment’s notice, all the while keeping the music heavy as hell thanks to downtuned guitars and the snarling vocals of John Tardy. As a result, Slowly We Rot made quite a splash back in 1989, influencing an entire legion of death metal bands in Florida: Morbid Angel, Deicide, Malevolent Creation, Cannibal Corpse, and numerous others now forgotten among the thousands of international bands that followed. In a way, Slowly We Rot was the prototypical death metal album, establishing a template that would come to define the style (one that is distinct from grindcore and black metal, it should be pointed out).

PERTURBATOR – Darksynth · Metal · Synthwave

The main project of French musician James Kent, Perturbator is regarded as one of the leading acts of the synthwave scene which became popular during the 2010s. He rose to prominence near the beginning of the decade, with several releases which combined driving synths with dark, neon-streaked imagery equally inspired by vintage cyberpunk, horror, and sleaze. His profile was boosted when several of his songs were included in the Hotline Miami video games, and his ambitious 2016 concept album The Uncanny Valley ranked high in Billboard’s Heatseekers Top Dance/Electronic Albums charts. He then shifted his sound in a more atmospheric, darkwave-influenced direction with his next full-length, 2021’s Lustful Sacraments.

Born in Paris in 1993, James Kent is the son of noted rock journalists Nick Kent and Laurence Romance. He was given a Pantera album at the age of three, and a guitar at 11. After learning Tool and Slayer riffs on the guitar, he began writing his own music, but Mom and Dad’s synth collection was also calling, and the younger Kent took to the keyboards with both metal and cyberpunk attitudes. He debuted his sound with the 2012 EP Night Driving Avenger while two albums, Terror 404 and I Am the Night, arrived that same year. The combination of retro-techno and aggression attracted the developers of the campy and violent video game Hotline Miami, who added Perturbator to contribute to the 2012 game’s soundtrack. The Sexualizer EP followed in 2013. Finnish extreme metal label Blood Music issued Perturbator’s concept LP Dangerous Days in 2014, then reissued most of his previous releases. Work on the Hotline Miami 2: Wrong Number soundtrack followed in 2015, then Dangerous Days’ story of a religion using technology to persuade followers was continued on the 2016 concept album The Uncanny Valley. The following year, Kent issued the electro-industrial-leaning EP New Model.

Two volumes of B-Sides & Remixes appeared in 2018, as Kent continued developing new Perturbator material. He collaborated with HEALTH that year, releasing the song „Body/Prison” in October. Kent appeared in the John Carpenter-narrated synthwave documentary The Rise of the Synths in 2019. Lustful Sacraments, a more guitar-driven, goth rock-influenced Perturbator full-length, arrived in 2021.

PHIL CAMPBELL AND THE BASTARD SONS – Hard Rock · Heavy Metal

There is no easy course to triumph and glory in rock’n’roll. Even for bands with a natural gift for making the ground shake, hard work and many gallons of blood, sweat and tears go into making the magic happen. Even then, it’s always down to the people to decide who rocks and who doesn’t. And the people have declared that PHIL CAMPBELL AND THE BASTARD SONS are the real fucking deal.

So get ready for a full on MOTÖRHEAD classic set, only on Rockstadt Extreme Fest!

Formed in the aftermath of MOTÖRHEAD’s dissolution, following the death of Lemmy Kilmister in 2016, PHIL CAMPBELL AND THE BASTARD SONS were always going to draw a crowd at any discerning rock or metal festival. Led by one of the genre’s most respected guitarists and completed by his sons Todd (guitar), Tyla (bass) and Dane (drums) and powerhouse frontman Neil Starr, the band emerged onto the 2017 touring circuit powered by a huge amount of good will, a smattering of MOTÖRHEAD covers and a handful of new songs that crackled with passion and swagger. Landing themselves a prestigious support slot on GUNS N’ ROSES 2017 summer stadium run, the BASTARD SONS hit the ground running.

Whether it was the promise of hearing a few old Lemmy gems or simply that PHIL CAMPBELL AND THE BASTARD SONS were too good to ignore, the response to those early shows was uniformly ecstatic and extremely rowdy. By the time the BASTARD SONS released their debut album, “The Age Of Absurdity”, in January 2018, this honest rock ‘n’ roll enterprise had organically blossomed into a pretty big deal. The album garnered widespread great reviews, picking up a trophy for ‘Best Debut Album’ at Metal Hammer Germany’s 2018 awards

 

 

ROCKSTADT EXTREME FESTIVAL 2023 | TRUPE. PART 4

admin mai 25, 2023 No Comments

INFEST – Death Metal · Thrash Metal

KADAVAR – Hard Rock

Known as Europe’s unstoppable force in the rock and roll circus, KADAVAR is the latest name added to the already amazing lineup of Rockstadt Extreme Fest 2023.

Steeped in the bluesy, brooding, bottom-heavy traditions of bands like Black Sabbath, Hawkwind, and Led Zeppelin, German psych-rock trio Kadavar unapologetically spin ’70s-era hard rock tropes into contemporary stoner metal gold. Known for explosive live shows, the band play hundreds of dates a year, and have done so since issuing their 2010 self-titled debut. That hard work paid off as each album sold better than its predecessor. Their third album, 2017’s Rough Times, entered the German album charts at 18.

2019’s For the Dead Travel Fast registered inside the U.S. metal Top 20 by celebrating all things fuzzy, trippy, and creepy. 2020 saw the band move to Berlin’s Robotor Records and release the uncharacteristically moody The Isolation Tapes during the pandemic. At the end of 2021, Kadavar teamed with American ex-pats Elder to release the conceptual, six song, prog-psych tome Eldovar: A Story of Darkness & Light.

Their style has been categorized to have a „riffed psych rock and doom-like sound” with influences from Black Sabbath, The Doors, Hawkwind and Led Zeppelin.

 

KNOCKED LOOSE – Hardcore Punk

Bruised and bloodied, Knocked Loose open up the pit with a brutal sound that falls between hardcore punk and metalcore. The Kentucky-based group issued a pair of EPs before inking a deal with Pure Noise ahead of the release of their first full-length effort, 2016’s uncompromising Laugh Tracks. The band continued to hone their beatdown hardcore sound on subsequent efforts like 2019’s A Different Shade of Blue and 2021’s A Tear in the Fabric of Life EP.

Led by screaming frontman Bryan Garris, the Oldham County, Kentucky quintet is also composed of guitarists Isaac Hale and Cole Crutchfield, bassist Kevin Otten, and drummer Dylan Isaacs. In 2011, Garris, Otten, and Hale joined drummer Jared Barron (Concealer, Greyhaven) for an early incarnation of the band (a teenaged Garris honed his early vocal skills by practicing in various area bands with Barron). Later, they enlisted Isaacs as their permanent drummer. Their first EP, Pop Culture, was released on Little Heart in 2014, quickly followed by a split EP with Louisville quintet Damaged Goods. Knocked Loose’s debut LP arrived in 2016. Laugh Tracks (Pure Noise) debuted on the Billboard 200 and in the Top 50 on six separate side charts. The band teamed up with prolific engineer Will Putney for their sophomore effort, 2019’s punishing A Different Shade of Blue, which introduced elements of thrash and melodic death metal into their already punitive sound. In 2021 the band released the potent Tear in the Fabric of Life, a conceptual six-song EP about grief and isolation that was accompanied by a short animated film created by Swedish filmmaker Magnus Jonsson.

LEGION OF THE DAMNED – Death Metal · Thrash Metal

Prepare yourself for a brutal onslaught of Dutch thrash metal and death metal as Legion of the Damned joins the lineup for Rockstadt Extreme Fest, taking place near Râșnov Fortress in Transylvania from 2-6 August 2023. This phenomenal band is ready to bring their unique blend of horror motifs, dark occult and religious themes, and apocalyptic events to the stage, and the Rockstadt Extreme Festival team couldn’t be more thrilled to have them on board.

Formed in 1992 as Occult and later renamed to Legion of the Damned in 2006, the band hails from Limburg, The Netherlands. The current lineup consists of Maurice Swinkels on vocals, Erik Fleuren on drums, Harold Gielen on bass, Twan van Geel on guitars, and Fabian Verweij on guitars. The band is known for their aggressive style and relentless energy, and they have shared the stage with legendary acts such as Cannibal Corpse, Kataklysm, and Sodom.

Their debut album, „Malevolent Rapture,” was released in 2006, followed by „Sons of the Jackal” in 2007. Throughout their career, Legion of the Damned has consistently released powerful albums, including „Feel the Blade” (2008), „Cult of the Dead” (2009), „Descent Into Chaos” (2011), „Ravenous Plague” (2014), and „Slaves of the Shadow Realm” (2019). Their music showcases a blend of thrash metal madness and death metal brutality that has won them fans across the globe.

Legion of the Damned’s live performances are a testament to their ferocious intensity and dedication to their craft. They have appeared at numerous festivals, including the renowned Wacken Festival, and their shows are known for their high energy and crushing sound. As they bring their unstoppable force to the Rockstadt Extreme Fest stage, fans can expect a performance that will leave them breathless and begging for more.

LIONHEART – Beatdown Hardcore

Formed in 2004 in Oakland, California, Lionheart consists out of vocalist Rob Watson, guitarists Evan Krejci and Rob McCarthy, as well of bassist Chad Hall (currently in „Wear the Crown” – a heavy metal / hardcore band formed in 2017) and drummer Jay Scott after several line-up changes.

The band released their debut record The Will to Survive on September 2, 2007, via Stillborn Records and I Scream Records which got re-released with bonus materials two years later. After signing a record deal with Mediaskare Records Lionheart released their second studio album Built on Struggle on January 8, 2011.[1] A year and a half later, on May 8, 2012, the follow-up album Undisputed was released again on Mediaskare. An EP Welcome to the West Coast was released on January 14, 2014, via Fast Break Entertainment.

Between July and September 2011 Lionheart toured together with I Declare War. Between January 20–31, 2012 the band toured Europe during the Persistence Tour alongside Biohazard and Suicidal Tendencies.In July the same year a Northern American tour followed with Thick as Blood.[4] The band should have played Europe during that time but the concert tour got cancelled.[5] The band drew criticism from some fans after they confirmed playing a show with Motionless in White in Hawaii. The band stated that it was only one concert. In the beginning of 2015 the band toured Europa as participant of the Taste of Anarchy Tour with Nasty and German Beatdown band Coldburn.The band played some mid-sized festivals in summer 2005 including Ieperfest in Belgium, Traffic Jam Open Air and Summerblast Festival, both located in Germany. The festival appearances were part of a second Europe tour in Europe in 2015 where the band shared stage with bands like Death by Stereo, H2O, Born from Pain, 7 Seconds and First Blood.

In the beginning of 2016 the band released their fourth studio album called Love Don’t Live Here via German-based label Beatdown Hardwear Records. On May 26, 2016, the band announced their break-up. Five days after that announcement Lionheart announced the dates of their Farewell Tour in Europe, which included appearances on festivals like With Full Force, Vainstream Rockfest and the Free & Easy Festival all located in Germany. Even so, Lionheart played shows in Serbia and Greece for the first time.[13] On August 12, 2016, it was announced that the Farewell Tour will be expanded so the band will play their last concert in Germany on November 5, 2016, in Chemnitz.

After about a year disbanding, on Facebook the band announced that they had reunited.

 

LOST IN KIEV – Post-Rock

Post rock has ever since its beginnings shown an affinity to the use of speech samples, and has borrowed voices from movies or speeches by celebrities like Iggy Pop as in Mogwai’s „Punk Rock“ or random lost souls as in GY!BE’s „Blaise Bailey Finnegan III“. LOST IN KIEV take this tradition to the next level, by writing their own genuine storyline, and making their own movie to their album.

Ever since 2016’s Nuit noir, the band has recorded their own spoken words, as opposed to plagiarizing from movies. During their live performances, these voiceovers are synchronized with video projections showing actors who interprete the different voices on screen. An inverted soundtrack of sorts, or musical fiction, always tinged with realism in a striking and emotionally intense way.

From the first notes, Lost in Kiev brings an epic and massive post rock, driven by the energy of rock mixed with some electronic sounds. The 4 members of Lost in Kiev like to tell stories with their music, they writes and records their own words proposing for samples and create their own visuals stuff, like video projections, to creating a consistency between the graphics and the emotions, giving the listeners a coherent experience.

Persona, the latest album released under the french moniker, sees the band further expand their own idiosyncratic take on cinematic, contemporary post rock. „The main challenge with this record was how to write more direct and shorter post rock tracks with the same intensity as our previous, longer compositions“, guitarist Maxime Ingrand explains, „and also finding the right balance between traditonal post rock, the addition of synths and machines and the texts for the film“.

MARDUK – Black Metal

An unswerving commitment to blasphemy and extremity combined with a relentless touring schedule and a steady stream of recordings has helped establish Sweden’s Marduk as one of the better-known bands on the Scandinavian black metal scene. They began as more of a standard death metal band with a black metal influence, but have come to be known for their style of extreme black metal, which tends to focus on themes of warfare and anti-Christian sentiment and is characterized by relentlessly fast drumming and blurred walls of guitar. The group formed under the leadership of guitarist Morgan Steinmeyer Håkansson in 1990, with vocalist Andreas Axelsson, bassist Richard Kalm, and drummer Joakim Grave rounding out the lineup.

They released their controversially titled demo tape Fuck Me Jesus in 1991. Soon after, a second guitarist was added in Devo Andersson, while Bogge Svensson replaced Kalm on bass. Using this lineup, Marduk recorded their first official album, Dark Endless, which came out the following year on No Fashion Records. Unhappy with No Fashion, the band made the jump to the French Osmose Productions imprint, releasing Those of the Unlight in 1993, this time with Grave on drums as well as vocals and a new bassist in B. War. For their following release, 1994’s Opus Nocturne, Fredrik Andersson was brought in on drums, Devo Andersson was dropped, and Grave was resigned to vocals. (Meanwhile, Osmose set about releasing the Fuck Me Jesus demo in 1995, at which time it was banned in seven countries.)

In 2002, Emil Dragutinovic replaced Andersson on drums, and the following year the band released the more midtempo World Funeral, which was seen by some fans as an attempt to break into the mainstream. Devo returned to the band in 2004, this time on bass, and later that year Marduk released the more religiously themed Plague Angel, a theme the band would continue on their 2007 follow-up, Rom 5:12. Their 11th album, Wormwood, appeared in 2009, followed shortly by Serpent Sermon, which arrived in 2012. The overtly military-themed Frontschwein, harking back to Panzer Division, arrived in 2015. The following year, the band had to postpone their U.S. tour after being denied entry visas; when the tour finally went ahead in 2017, their Oakland, California show was cancelled after the venue was targeted by Antifa protestors. Undeterred as usual by controversy, they soldiered on, going back in the studio for 2018’s Viktoria, a raw, back-to-basics black metal album that saw them going even more old-school than ever.

MAYHEM – Black Metal

Founding fathers of the Norwegian black metal scene, Mayhem emerged in the mid-’80s and went on to influence countless bands with their uncompromisingly abrasive music and sordid history. The group courted controversy from their inception with their blood-soaked live performances, occult imagery, and ghoulish corpse paint. Their legend grew in the ’90s with their connection to a spate of Norwegian church burnings, the suicide of vocalist Per Yngve Ohlin („Dead”), and the murder of guitarist Øystein Aarseth („Euronymous”) by ex-member Varg Vikernes („Count Grishnackh”). Though the band continued to perform and record well into the next century – they issued their sixth LP, Daemon, in 2019 – they remain infamous for their non-musical history and their 1994 debut, De Mysteriis Dom Sathanas, which is considered a classic of the genre.

Inspired by bands like Bathory, Motörhead, Black Sabbath, Slayer, Celtic Frost, and Venom – they took their name from the latter group’s song „Mayhem and Mercy” – Mayhem came together in 1984 around bassist Necrobutcher (Jørn Stubberud), guitarist Euronymous (Oystein Aarseth), and drummer Kjetil Manheim. After releasing the demo Pure Fucking Armageddon, the trio recruited vocalist Maniac (Sven Erik Kristiansen), who made his studio debut on the band’s 1987 debut EP Deathcrush. Manheim and Maniac left the fold the following year and were replaced by drummer Hellhammer (Jan Axel Blomberg) and vocalist Dead (Per Yngve Ohlin), the latter of whom became notorious for his commitment to his chosen moniker: depressed and introverted, Dead was known to hoard deceased animals, bury his clothes in the ground the night before a show, and cut himself extensively on-stage. Congruent with their lead singer’s death obsession, Mayhem’s live shows became a lurid spectacle, a swirling mosh pit/meat grinder awash in human blood and dead animal parts. The band moved to a house in Oslo in 1990 to begin working on material for their first full-length effort.

During this time, Euronymous opened his own record store, Helvete, which served as a hub for the burgeoning Norwegian black metal scene. On April 8, 1991, Dead slit both of his wrists and then finished the job with a shotgun. Euronymous, upon finding his bandmate’s body, discovered a suicide note that commenced with „Excuse the blood,” and included lyrics for the song „Life Eternal,” which, many years later, would appear on the group’s debut album. He then left the scene to buy a disposable camera, and after returning, rearranged some items and took photographs of the corpse, one of which was used as the front cover of the 1995 bootleg live LP The Dawn of the Black Hearts. Shaken by the death of his friend and bandmate, bassist and co-founder Necrobutcher left the group, leaving just Hellhammer and Euronymous, the latter of whom had taken to wearing a necklace he had made with pieces of Dead’s skull.

In 1992, the duo recruited a trio of session musicians (Burzum’s Varg Vikernes on bass, Thorn’s Snorre Ruch on guitar, and Tormentor’s Attila Csihar on vocals) and began laying down tracks for their debut full-length effort. The following year, Euronymous was forced to close Helvete due to an increasing media and police presence brought about by Dead’s suicide, a string of high-profile church burnings, and other associated acts of violence: Euronymous and Vikernes had been conspiring to blow up Nidaros Cathedral ahead of the release of the album. The plan never came to fruition, however, as Vikernes murdered Euronymous on August 10, 1993, stabbing him 23 times outside of Euronymous’ Oslo apartment. Vikernes was arrested and later convicted of both murder and arson and went on to spend 15 years in prison. Ruch (aka Blackthorn), who had made the 518-kilometer drive from Bergen with Vikernes to confront Euronymous but waited downstairs, received an eight-year sentence for complicity in murder, leaving Csihar and Hellhammer as the sole remaining members of the group.

MESHUGGAH – Extreme Metal

Mavericks. Pioneers. Unique. Immutable.

Meshuggah stand alone. The most inventive and creative metal band of the last 30 years and one of the most widely revered, Meshuggah have been standard bearers for forwardthinking creativity in heavy music throughout their illustrious careers.

First conjured from the ether in Umeå, Sweden, by guitarist Fredrik Thordendal, frontman Jens Kidman in 1987 and bassist Peter Nordin, early incarnations of the band took a blowtorch to established rules for modern metal, warping the essence of Bay Area thrash to their own ends, and hurling countless seemingly disparate influences into the resultant brew. Signing with Nuclear Blast Records as the ‘90s clicked into gear, Meshuggah released their debut album Contradictions Collapse in 1991, garnering solid reviews but limited
commercial impact.

It was when the band coalesced around a settled line-up of Thordendal, Kidman and Nordin,alongside rhythm guitarist Mårten Hagström and powerhouse drummer Tomas Haake, that their true artistic mission became apparent. Tentatively showcased on 1994 EP None, Meshuggah’s sound was undergoing a complete overhaul. The end result was Destroy Erase Improve. Brutal, complex, perverse and relentless, D.E.I. noisily rejected the early ‘90s metal status quo, jettisoning all old school influences and dragging heavy music glitching and shrieking into a far more interesting and challenging future. The recruitment of a new bassist, Gustaf Hielm, only strengthened the band’s momentum and resolve.

A subsequent tour of Europe as main support to Machine Head introduced the Swedes’ genre-shattering music to an ever-growing audience, and by the time Meshuggah released their third full-length album, Chaosphere, in November ’98, they were firmly established as contemporary legends. Far more vicious and unhinged than its predecessor, Chaosphere heralded the finally shrugging off of any elements recognisable from metal’s past or present, via visceral but clinical waves of polyrhythmic destruction like the now immortal New Millennium Cyanide Christ. Now universally acknowledged as a unique and potent musical force, Meshuggah toured extensively alongside both Slayer (in 1999) and Tool (in 2001), demonstrating an uncanny ability to fit in everywhere and nowhere along the way.

A new century became the perfect springboard for Meshuggah’s most significant evolutionary leap. Eschewing the frantic bedlam of Chaosphere for something more dynamic, powerful, hypnotic and heavy, the band rebuilt their sound from the ground up for2002’s Nothing. Once again widely hailed as a masterpiece, the album’s densely psychedelic take on futuristic brutality enabled Meshuggah to inject vastly more atmosphere and drama into their much-praised live shows. Meanwhile, both 2004’s one-track brain-blitz I and the following year’s conceptual/experimental splurge CatchThirtyThree suggested that the band were still in a state of perpetual flux, with an identity still yet to be fully determined.

Aptly, the recruitment of a new bassist, Dick Lövgren, in 2004, turned out to be an essential final piece in the band’s enduring and confounding jigsaw. With renewed focus and ferocity,
Meshuggah have been an unstoppable force ever since. From the gleaming savagery of 2008’s ObZen and the imperious menace of 2012’s Koloss, to the cudgelling career peak and insane riff armoury of 2016’s The Violent Sleep Of Reason, their status as metal’s most inspired and inspiring band has remained unassailable and beyond dispute.

Commercial impact and critical acclaim have both followed accordingly, too. Koloss and The Violent Sleep Of Reason burst onto the Billboard Top 200 chart at #17, Meshuggah’s highest
US chart entries to date. TVSOR also conquered Australia’s Top 10 Album chart, while the album’s crushing opening track Clockworks was nominated for a Grammy for Best Metal

Performance in 2018. That same year, Meshuggah walked away from Metal Hammer’s Golden Gods awards ceremony with the much-coveted “Inspiration” trophy: a fitting tribute to three decades of mercurial creativity. Meanwhile, as showcased on their celebrated live documents Alive (2010) and The Ophidian Trek (2014), Meshuggah have become ever more devastating and otherworldly as a live act, too. 2022 brings the release of the Swedish icons’ ninth and most fearlessly creative studio album yet. Full of surprises and yet instantly recognisable as the work of metal’s most idiosyncratic force, Immutable redefines and redesigns the Meshuggah sound, across more than an hour of the most stimulating and absorbing music the band have ever made.

Despite the challenges of the last couple of years, the progressive principles that have always informed their artistic efforts remain as cherished as ever. As we spiral towards a dystopian future, Meshuggah still stand alone.

 

ROCKSTADT EXTREME FESTIVAL 2023 | TRUPE. PART 3

admin mai 25, 2023 No Comments

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.”

 

ROCKSTADT EXTREME FESTIVAL 2023 | TRUPE. PART 2

admin mai 24, 2023 No Comments

EMPLOYED TO SERVE – Hardcore Punk · Metalcore

Woking, U.K. female-fronted metalcore group Employed to Serve combine punk and technical death metal guitars with a healthy dose of melody, crunchy grooves, and swing from the rhythm section. Greyer Than You Remember, their 2015 debut album, garnered an active, involved – and some would say fanatical – audience of peers who relished the punishing riffs and socially conscious lyrics as the band’s songs revealed intimate connections between personal and societal alienation, displacement, anger, malaise, and transcendence. As evidenced by 2017’s The Warmth of a Dying Sun and 2019’s Eternal Forward Motion, they have remained sonically true to core principles yet have evolved toward something more hooky, progressive, and hook-laden. 2021’s Conquering was an album-length anthemic manifesto of perseverance and liberation.

The band began in 2011 as a grindcore bedroom project between Justine Jones (vocals) and Sammy Urwin (guitar, vocals). They enlisted the rest of the lineup the following year, consisting of James Jackson (guitar), Jamie Venning (bass), and Robbie Back (drums). Quickly, they gained a reputation for their live shows; this caught the attention of Holy Roar Records, who went on to release their debut album, Greyer Than You Remember, in 2015. Wanting to explore a heavier sound, the band returned to the studio, emerging with their second album, The Warmth of a Dying Sun, in 2017. They doubled down on doom and sludge elements for their third full-length, Eternal Forward Motion, with most of the tracks written in drop G tuning, encouraging Jones to adapt her vocal style into a lower register; they released their third album in 2019 through Spinefarm Records.

After touring across the U.K. and playing the European festival circuit, the band hunkered down to ride out the pandemic. They re-emerged with Conquering in October 2021 an anthemic collection that wed sub genres including nu-metal, thrash, post hardcore, death and prog metal.

EPICA – Symphonic Metal

Mind you, that’s not lightly said for a band like Epica. Formed by composer Mark Jansen after leaving After Forever back in 2002, they quickly gained attention outside their home country, taking big steps towards becoming the leading symphonic metal superpower they have long proven to be. After their ambitious debut The Phantom Agony (2002) and the surprisingly eclectic sophomore work, Consign To Oblivion (2005), the road took them to new heights via their first concept masterpiece, The Divine Conspiracy (2007) and their global breakthrough, Design Your Universe (2009).

However, especially 2012’s opus, Requiem For The Indifferent, 2014’s bedazzling, The Quantum Enigma and their finest, most embellished effort yet, The Holographic Principle (2016), cemented their reputation as not only one of the hardest working metal bands in the business but also as one of the best. Period. With Omega, the final part of the metaphysical trilogy they began with The Quantum Enigma, they reclaim the throne without so much as the blink of an eye.

On their past seven records so far, they soared from gothic undertones to a broad, epic and triumphant amalgamation of all things monolithic, establishing their unique brand of unparalleled vocal excellence by Simone Simons with a band both ready to tear down venues around the globe while at the same time installing orchestral splendour, progressive elegance, oriental enchantment, cinematic soundscapes and colossal fury into their trailblazing, bombshell sound. “We have long found our sound,” says Mark Jansen, “but within that sound, there is lots of room for evolution. We always try to reinvent ourselves, to bring in refreshing elements.” And this massive, shape-shifting beast of a new album is the logical climax of their history.

For more than 15 years, the band pressed the pedal to the metal, passionately touring the globe time and again. After what Simone Simons describes as, “having been sitting in a high-speed train without stopping at any destination whatsoever,” the band in 2018 decided it was high time for a well-deserved rest. As soon as the The Holographic Principle cycle came to a close with their 1000th show, the band went into hiatus. Alright, alright, they still finished their very first autobiography, The Essence of Epica during that time, but you just can’t expect a band like Epica sitting still, idly twiddling their thumbs now, can you? “It was the first real break we allowed ourselves,” Simone Simons says. “It did us all good and gave us a chance to reflect on what’s been happening since 2003. It all went by so fast.” Realizing how much Epica accomplished made them far from satisfied. Indeed, it rekindled the fire in their hearts, bringing them back together sooner than expected.

For the first time in years, they congregated in a villa in the pastoral beauty of rural Holland, setting up their temporary studio in several rooms. For one intense week of renewed bonding and creativity, they accumulated their ideas, they jammed, they wrote, they discussed. Above all, however, they just spent time together as friends. Just like in the old days before the members scattered across four countries. “For the first time in ages, we were working together in the same room, starting on each other’s ideas as early as never before.” Mark Jansen states, “This, made the album more coherent. For us, it was the only logical way to lift Epica to the next level. We had such a free flow of inspiration that we all agreed we would be extending this stay for the next album.”

EYEHATEGOD – Sludge Metal

Get ready to witness the brutality of sludge metal titans, Eyehategod, as they bring their relentless energy and legendary status at Rockstadt Extreme Fest 2023, in the atmospheric surroundings of Râșnov Fortress in Transylvania.

Formed in 1988 in New Orleans, Louisiana, Eyehategod pioneered a unique blend of sludge metal, hardcore punk, and blues, earning them a dedicated following across the globe. Their unmistakable sound, characterized by downtuned guitars, slow tempos, and vocalist Mike IX Williams’ distinctive, tortured growls, has influenced generations of metal bands and secured their place in the annals of heavy music history.

Eyehategod’s unapologetic and raw approach to music has seen them release a string of highly regarded albums, beginning with their 1990 debut, „In the Name of Suffering.” Their 1993 follow-up, „Take as Needed for Pain,” is widely regarded as a genre-defining masterpiece, featuring tracks such as „Blank” and „Sister Fucker (Part I).” Over the years, the band has experienced several lineup changes and personal challenges, but they have always remained true to their uncompromising vision.

In 2014, Eyehategod released their first album in 14 years, a self-titled effort that saw them return to form and solidify their status as sludge metal icons. Their most recent offering, 2021’s „A History of Nomadic Behavior,” showcases the band’s signature aggression and intensity, proving that they show no signs of slowing down.

Eyehategod’s live performances are legendary for their raw power, with Williams’ guttural vocals and the band’s crushing riffs promising an unforgettable experience for those in attendance. As they prepare to unleash their sonic assault on the Rockstadt Extreme Fest stage, fans can expect a setlist that spans their extensive discography, leaving no stone unturned and no ear unscathed.

Mark your calendars, grab your tickets, and prepare yourself for the onslaught that is Eyehategod at Rockstadt Extreme Fest, 2-6 August, Transylvania, in Romania. This is a once-in-a-lifetime opportunity to see some of the most influential bands in extreme music perform in a truly unique setting. See you in the pit!

FOR THE WICKED – Deathcore · Trap Metal

GAEREA – Black Metal

Behind black shrouds of obscurity and desolation, the men of GAEREA deliver their odes in cascading maelstroms of aggression and beauty. Emerging from the age of pandemic to whatever awaits humanity next, the Portuguese horde remains on the frontlines of the next generation of extreme metal. With an EP and two albums to their name, GAEREA has rapidly distinguished themselves from the thousands of bands toiling away in the underground. Brewing their cauldron of sound from a recipe of pounding black-metal blast mixed with a touch of harrowed, reflective longing, many devotees of the darkened arts have flocked to their banner. With the emergence of third full-length album Mirage, those numbers are sure to grow.

Underground metal itself is a strange and cyclical beast. Trends come and trends go. But at no point in the genre’s history have we borne witness to what happened to the world in 2020. GAEREA met this challenge by releasing their second album, the aptly titled Limbo, to excellent world reception. In the meantime, they found the total suspension of interactive life as it was previously known to be the perfect breeding ground for further creation and making. As the troupe’s main songwriter elaborates, “I lost two precious years of my life, years that I would rather have spent touring and growing as an artist. But they were crucial for us, these years, because not too many bands stayed relevant and productive. The pandemic gave us the time to make the best release we could. All the promo-shoots, interviews, videos, we all had time to prepare for everything. Mirage was the product of a sudden inspiration. The basic parts were written over about two weeks.”

Such a stunning admission goes to show that art is fickle, and the artist is merely a vessel through which the sweet sorcery we call music may flow. It can mute itself to frustrating silence – or it can explode into being regardless of all consideration. For this band on the rise, it is most certainly the latter. Sizzling with ambition from day one, GAEREA may present one unique face to their audience, masked and enshrouded, but the truth is they have not remained changeless. “We are not the same band who recorded Limbo,” he insists. “We are more eager to take on the world. If the pandemic taught us anything it is that nothing is certain.”

GUTALAX – Goregrind · Grindcore

Prepare to be blown away as Gutalax, the Czech grindcore sensation, joins the Rockstadt Extreme Fest lineup, taking place near Râșnov Fortress in Transylvania from 2-6 August 2023.

Hailing from Křemže, Czech Republic, Gutalax was formed in 2009 and features Petr „Průduch” Pour on guitar, Martin „Maty” Matoušek on vocals, Lukáš „Pouřík” Pour on drums, and Pavel „Kebab” Troup on bass. The band is known for their energetic live performances, wearing distinctive white protective clothing and throwing… amusing props into the crowd, such as toilet paper, toilet brushes, and inflatable dolls.

Gutalax’s journey began in 2009 with the release of their seven-track demo, „Telecockies,” which quickly gained underground popularity and led to a 2010 split release with Italian band Cannibe. After a series of concerts mainly as supporting acts, Gutalax welcomed second guitarist Kojas to the lineup in August 2010. The band continued to perform both in the Czech Republic and throughout Europe, earning a reputation for their entertaining live shows.

In 2013, Gutalax embarked on a 14-day tour of Mexico, and later that year, they collaborated with Spanish band Haemorrhage on a 7″ split vinyl. Work on their second full-length album, „Shit Happens!,” began in 2014, with the record being released in 2015 under the German label Rotten Roll Rex. Their third album, „The Shitpendables,” was released in 2021, also on Rotten Roll Rex. The Rockstadt Extreme Festival team is thrilled to have Gutalax as part of their 2023 lineup, as it offers grindcore fans an incredible opportunity to see these masters of mayhem live in action. Don’t miss your chance to experience the chaos and hilarity that is Gutalax at Rockstadt Extreme Fest 2023, near the historic Râșnov Fortress in Transylvania.

HANGMAN’S CHAIR – Doom Metal

Hangman’s chair is living a new life cut up in 3 distinct arcs.

2009, Leaving Paris inks the rebirth of a band, of a group of friends musically in sync. 2012, Hope//Dope//Rope is a confirmation of spirit.
Hangman’s chair keeps maturing, forever drowned with Paris’ moods. Despair, solitude and violence share the stage with beauty, symbiotic loves and the other violence.
End of 2015, This is not supposed to be positive is released through Musicfearsatan. 2016, Hangman’s chair occupies the pages of magazines and webzines (New noise, Noi- sey, …), and seals the deal with around 40 shows, imposing their style onto the Roadburn’s and Hellfest’s stage.
Alone in their world, alone in Paris and Paris unique in itself: Hangman’s chair now has no counterpart. Acid bath, Crowbar or Alice In Chains now are references put to rest.
New festival appearances lined up for 2017, a split EP with Japanese sludge legends Green- machine, and a new album Banlieue Triste rounded up for 2018 : whatever Hangman’s chair transforms into now, it’s roots will lie around the corner of an alley, in between two parisian bars or deep down the Seine river. These monsters’ kids will cry their despair.

 

HEILUNG – Folk/Neofolk

Combining ancient melodies with otherworldly vocals, field recordings, dark ambient soundscapes, and shamanic rhythms, German, Norwegian, and Danish pagan folk act Heilung creates a trance-inducing blend that evokes the very dawn of civilization. The group has issued a string of acclaimed studio efforts (Ofnir, Futha, Drif) and has had its music appear in video games, television, and film.

Heilung („healing” in German) was formed in 2014 by German vocalist Kai Uwe Faust and Danish multi-instrumentalist and studio engineer Christopher Juul. Later, Norwegian singer Maria Franz (Juul’s girlfriend) joined the band. Brought up in a strict Christian home in rural Germany, Faust was forbidden television but encouraged to read, and he became fascinated by ancient pre-Christian traditions. As a youth, he rebelled against his parents and briefly embraced satanism before discovering shamanism and Viking culture. He studied Tibetan throat singing and became a poet and a tattoo artist. Franz felt a sense of belonging and community after discovering her local Viking re-enactment society at the age of 11. Juul was brought up directly connected to these traditions, the son of a pagan priest in Copenhagen. Heilung was born when Faust visited Juul’s studio, Lava, to record some poems, offering the engineer a tattoo as payment. The two connected immediately and decided to create a musical project that would take listeners back to the Bronze Age, using ancient instruments and objects and Faust’s otherworldly throat singing, with lyrics taken from original Viking rune inscriptions. When Franz joined, lending her ethereal vocals to the mix, Heilung was complete.

Calling their style „amplified history,” in 2015, they self-released their debut album, Ofnir, which attracted some attention. But their big break came at 2017’s Castlefest in Lisse, the Netherlands, where they brought the house down with a unique ritual performance to a 10,000-strong crowd, filling the stage with guest performers all clad in ancient furs, bones, and antlers. Amazingly, it was only their second ever show, and they had only three days to prepare. The performance was filmed and made available online, where it was streamed a million times. The band signed to Season of Mist and released the recording as their second album, Lifa. The label reissued Ofnir in 2018 and put out Heilung’s second studio album, Futha, the following year. 2019 also saw the group’s music appear in the popular television show Vikings. 2022’s wide-ranging Drif expanded the band’s sonic palette by exploring ancient civilizations outside of Northern Europe.

 

Rockstadt Extreme Festival 2023 | TRUPE. PART 1

admin mai 24, 2023 No Comments

 

 

ABBATH – Black Metal

Abbath, one of the most powerful Norwegian black metal band, is set to bring their relentless and raw energy to Rockstadt Extreme Festival this year (2-6 August, Transylvania). We couldn’t be more excited to have them as part of our 2023 lineup.

Formed in 2015 by former Immortal guitarist and vocalist Abbath Doom Occulta, the band has released three impressive studio albums to date: ‘Abbath’ (2016), ‘Outstrider’ (2019), and ‘Dread Reaver’ (2022). Drawing inspiration from the likes of Kiss, Motorhead, Manowar, and Bathory, Abbath has made a name for itself in the black metal scene with their occult-laden sound and aggressive performances.

Over the years, Abbath has seen numerous lineup changes, but the current roster includes Abbath Doom Occulta, drummer Ukri Suvilehto, and guitarist Raud. Their dedication to delivering a powerful and uncompromising sound is evident in their latest release, ‘Dread Reaver,’ which even features a blistering take on Metallica’s „Trapped Under Ice.”

Fans attending Rockstadt Extreme Festival can expect an unforgettable performance from Abbath, complete with their signature black metal onslaught and occult-inspired aesthetics. Their dark, atmospheric soundscapes and relentless energy are sure to leave a lasting impact on festival-goers.

As we eagerly await Abbath’s electrifying performance at this year’s Rockstadt Extreme Festival, we invite you to join us in celebrating the remarkable talent and unique sound that has made them a staple of the black 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.

AGNOSTIC FRONT – Hardcore

The New York hardcore scene that arose in the early ’80s was an intense but accurate reflection of a city in crisis, and no band better typified the sound and fury of the time than Agnostic Front. Taking the speed and simplicity of early N.Y.C. punk acts like the Ramones, the Dead Boys, and the Dictators, stripping the tunes to their frameworks, and upping the speed, impact, and overall rage, Agnostic Front provided the ideal and inevitable soundtrack for a city mired in debt and crime, with hundreds of underprivileged kids in Manhattan and its outlying boroughs forming bands to rail against the everyday trials, dangers, and prejudices of urban existence. The elemental sound of early Agnostic Front classics like 1984’s Victim in Pain and 1986’s Cause for Alarm were massively influential in the American hardcore scene, as well as providing a key stepping-stone toward speed and thrash metal.

1998’s Something’s Gotta Give, their first album for punk powerhouse Epitaph Records, was a more refined effort but showed that their rage and muscle were still there. And just as Agnostic Front influenced metal, metal would influence Agnostic Front; later efforts like 2007’s Warriors and 2011’s My Life My Way sounded beefier, full of the stuttering drums and shards of guitar that typified the harder edges of the metal scene.

Agnostic Front guitarist and co-founder Vinnie Stigma was a first-generation punk rocker and skinhead who formed Agnostic Front in 1980 with vocalist John Watson. Watson only lasted a few months before being replaced by Cuban-born Roger Miret; a product of refugee parents, he had firsthand experience in social injustice and opinionated views about politics coursing through his veins. When combined with Stigma’s ferocious, primal rhythm guitar, Miret’s charisma as a decadent urban messiah would come to personify the band’s sound. Bassist Adam Moochie and drummer Ray Beez joined soon after. The group adopted the new name Agnostic Front (at Stigma’s insistence because he thought it sounded like a movement), and they issued their first independent release, the United Blood EP, in 1983. This was followed by 1984’s career-defining Victim in Pain album, which contained a 15-minute blast of pure New York hardcore and saw the arrival of new members Rob Kabula (bass) and Jimmy Colletti (drums). It also confirmed Agnostic Front’s brief status as leaders (along with precursors the Cro-Mags and Murphy’s Law) of the already cresting movement, which found its weekly showcase via the now legendary Sunday matinees at favorite Lower East Side haunts A7 and CBGB’s.

Come 1997, however, Stigma and Miret began discussing a possible comeback for Agnostic Front. When top punk label Epitaph Records showed interest, the band’s long-rumored resurrection became fact, with former members Rob Kabula and Jimmy Colletti completing the lineup that recorded both 1998’s Something’s Gotta Give and 1999’s Riot, Riot, Upstart in quick succession. The latter boasted an especially strong set of retro-hardcore, and featured guest appearances from M.O.D.’s Billy Milano and Rancid’s Lars Frederiksen, among others. With the hardcore scene that they’d helped build effectively dead in the dirt, few listeners outside the group’s New York stomping grounds seemed to care about their return, but Agnostic Front continued to perform and record occasional albums like 2001’s Dead Yuppies (with bassist Mike Gallo), 2003’s Working Class Heroes, 2005’s Another Voice, 2011’s My Life My Way, and 2015’s The American Dream Died. Stigma, Miret, and Gallo teamed with lead guitarist Craig Silverman and drummer Pokey Mo to record 2019’s Get Loud; the cover art was an update of the images on Cause for Alarm, created by the same artist, Sean Taggart.

ALESTORM – Folk Metal · Power Metal

Following in the wake of buccaneering German pirate metallers Running Wild, Scotland’s Alestorm emerged in 2007 with a boozy blend of power metal and hard rock that looked to the high seas for inspiration. Their humor and swashbuckling melodies, which often evoke sea shanties and traditional English, Irish, and Scottish folk songs, first found favor with European audiences, with 2009’s Black Sails at Midnight making a strong showing in Germany. The band achieved international success with the release of their fourth long-player, 2014’s Sunset on the Golden Age, which debuted at number seven on the U.S. Heatseekers charts, and have continued to proudly fly the Jolly Roger on subsequent efforts like No Grave But the Sea (2017), Curse of the Crystal Coconut (2020), and Seventh Rum of a Seventh Rum (2022).

Originally known as Battleheart, Alestorm formed in their original (pre-nautical) phase in 2004. As Battleheart, the group was initially a duo formed by Gavin Harper (guitar) and Christopher Bowes (vocals and keyboards), and recorded its first EP (a self-titled affair) in 2006. Over the course of the next year, feeling the need to bring their sound to the people of Scotland, Battleheart expanded to a four-piece with the addition of bassist Dani Evans and drummer Doug Swierczek. The new crew recorded another EP soon after, entitled Terror on the High Seas, and the buzz helped land a song from the release on Metal Hammer magazine’s Battle Metal V compilation. Later that year, in 2007, the bandmembers – after signing with Napalm Records – decided to change their name to further the cause of their swashbuckling brand of metal, settling on Alestorm. Eventually, the lineup coalesced a bit more, with Ian Wilson bringing stability to the drummer position, and Alestorm released their debut album, Captain Morgan’s Revenge, in early 2008. The band toured the United States later that year with fellow folk-metal giants Týr and Heidevolk before releasing its second full-length, Black Sails at Midnight, in spring 2009. They further cemented their reputation for grog-hoisting pirate-themed metal over the next five years by releasing two albums, 2011’s Back Through Time and 2014’s Sunset on the Golden Age, the latter of which found success both at home and abroad.

A year later, their fourth album guitarist, Dani Evans, left the group; he was eventually replaced by Máté Bodor (Wisdom), who made his first recorded appearance on their fifth studio album, 2017’s well-received No Grave But the Sea. The band decamped to Thailand with longtime producer Lasse Lammert for their sixth full-length effort, 2020’s Curse of the Crystal Coconut, which trafficked in the usual blend of seaworthy metal, folk, and hard rock, while even dabbling in some pirate rap-metal. Riffing on the title of Iron Maiden’s 1988 LP Seventh Son of Seventh Son, 2022’s Seventh Rum of a Seventh Rum saw the band play to their strengths with another boozy, bawdy, and raucous effort.

ALLOCHIRIA – Post Metal

Allochiria is a post-sludge band formed in Athens, Greece in 2008.

They have released one EP (2010) and two full-length albums, Omonoia (2014) and Throes (Art of Propaganda, 2017). Their third album is called Commotion and will be released in spring 2023 by Venerate Industries.

The band has played countless live shows and festivals throughout the years, sharing the stage with bands like Amenra, Social Distortion, Deafheaven, Year of No Light, Altar of Plagues, Toundra, Minsk, Harakiri for the Sky, Deaf Kids, and more. They have played big festivals like Desertfest Athens (2017), Rockstadt Extreme Fest in Romania (2014, 2018) and Rockwave Festival Athens (2022) and have been in two European tours (2015, 2018). Their most recent European tour in 2020 had to be canceled due to the COVID-19 pandemic.

Allochiria’s music is thematic; it revolves around humans as social beings, the corruption that defines them in modern societies, their vain struggles, painful routines and the consequences of their actions in the world around them.

AMORPHIS – Folk Metal · Melodic Death Metal

Finland’s Amorphis have been standard bearers for Nordic metal since the final decade of the 20th century. Originally conceived as a death metal band, they transcended the genre limitation early on as 1994’s Tales From The Thousand Lakes began incorporating elements of folk, Viking, and progressive metal into their sound. 2001’s keyboards-and-saxophone-drenched Am Universum went further, threading psychedelia into their sonic quilt. 2009’s globally celebrated Skyforger showcased riff driven melodic death balanced with hooky progressive tenets. 2015’s Under The Red Cloud took that sound as far as it could go to became a global bestseller.

Founding guitarist Esa Holopainen described the band’s m.o. this way: „We’ll change our style only if we manage to create something ourselves.” 2018’s Queen of Time managed just that with a meld of prog, psych and driving hard rock; its single „The Bee,” climbed international streaming charts. 2022’s saw the release of Halo, whose songs utilized shifting time signatures, intricate melodies, choirs, and ever changing dynamics to underscore the band’s unique, unrivaled folk-cum-melodic death metal fusion.

In March 2018, the band issued its most successful single „The Bee” ahead of 12th studio long-player Queen of Time, that arrived the following month. Produced once more by Bogren, the set featured the return of founding bassist Olli-Pekka Laine amid an ambitious slate of songs that included choirs, an orchestra and numerous guest spots – vocalist Anneke van Giersbergen, Loudness guitarist Akira Takasaki and Shining saxophonist Jorgen Munkeby all made appearances. Queen of Time also reached into the top five at streaming.

After spending the rest of the year and most of 2019 touring, the band settled into quarantine in 2020 to sit out the COVID-19 pandemic. They returned in 2021 with Live at Helsinki Ice Hall, the document of a homecoming show two years earlier. Throughout the year Amorphis worked on new material in the studio with Bogren. Several singles appeared in 2021 including „Brother and Sister,” and „Daughter of Hate” / „House of Sleep.” In February 2022, Amorphis released Halo, a sprawling, hook-laden, meld of psychedelic hard rock and progressive folk metal.

ARCH ENEMY – Death Metal

If the last few years have taught us anything, it’s that we need regular, jolting doses of heavy fucking metal to keep us on the right track. Over the last quarter of a century, no band has flown the flag for balls-out, melody-stuffed heaviness with more vigour or dedication than Arch Enemy. In 2022, the band’s brand new album, Deceivers, is destined to be this year’s most lethally effective cure for all ills. Increasingly unstoppable, not least since the recruitment of vocalist Alissa White-Gluz in 2014, Arch Enemy are about to remind the world what the real thing sounds like, with their 11th and most explosive album yet.

“We achieved so much with those first two albums with Alissa,” band founder and guitarist Michael Amott notes. “Both Will To Power and War Eternal did so well for us. We just kept building and building and we didn’t expect that. When Angela [Gossow, Arch Enemy’s iconic former vocalist] left the band initially, I thought the band would go down to some extent and we could slowly build it back up to where we were when she left. But instead, with Alissa, it just took off and became a whole new thing.”

The wind billowing their sails and an ever-expanding audience of diehard fans, Arch Enemy arrive in 2022 in the finest of form. Written during 2020, Deceivers is another self-evident labour of heavy metal love, from a band with confidence coursing through every vein. As Michael observes, Arch Enemy have successfully negotiated the ups and downs of the Covid era and come out the other side armed with their most destructive piece of work yet.

From the belligerent fury of recent single Deceiver, Deceiver and the dramatic, viciously melodic House Of Mirrors to epic and brutal deep cuts like In The Eye Of The Storm and Spreading Black Wings, the new Arch Enemy album feels like a celebratory encapsulation of everything that has made the band such a vital force.

All of their cherished trademarks are present and correct, from majestic, heart-rending guitar hooks and harmonies through to an unremitting barrage of catchy but crushing riffs, but this is a sharper and more ferocious Arch Enemy than we have heard before. Deceivers could not have been created by any other band, but somehow this one feels like a bold reaffirming of musical values.

Arch Enemy fans have learned to expect their favorite band to sound immaculate. Deceivers once again belongs firmly at metal’s cutting edge, but a change of environment and a change of collaborator has brought new depth and texture to the band’s sound, while helping to hammer home those metal hooks with more intensity than ever.

The greatest bands always rise to the occasion. Arch Enemy are back, with one of their most defiant and uplifting records to date: a magnificent eruption of pure fucking metal, Deceivers is an invigorating, world-class shot in the arm. Meanwhile, Arch Enemy are primed and ready to return to their natural habitat, well-equipped with new anthems and still enjoying every last second of their steel-plated mission.

“We can’t wait to get back out there,” Michael Amott concludes. “I’ve always said that I’m ready to come back and play when it’s safe for everybody. The last few years have been incredible for us. It’s bizarre, because our new material is the most popular material that we have in the live show. Hopefully we can add a few more audience favorites from the new one, too!”

ARCHITECTS – Death Metal · Hardcore · Post Metal

A versatile metalcore group based out of Brighton, England, Architects employ a lethal amalgam of breakdown-heavy hardcore, symphonic screamo, death metal, and ambient post-metal. That sonic malevolence is conducted from a platform built on veganism and environmental activism, with influences ranging from Hatebreed and Shadows Fall to Bring Me the Horizon. Emerging in 2006 as a punishing, no-frills metalcore act, the band expanded their sound on 2011’s The Here and Now, adopting a more melodic – though still punishing – and less predictably structured approach to the genre, which they perfected on 2016’s critically lauded All Our Gods Have Abandoned Us. Heading into the next decade they continued to refine their more varied sound on 2021’s For Those That Wish to Exist and 2022’s The Classic Symptoms of a Broken Spirit.

Architects recorded their debut album, Nightmares, in 2006 with a lineup consisting of twin brothers Tom (guitar) and Dan Searle (drums), Tim Hillier-Brook (guitar), Tim Lucas (bass), and Matt Johnson (vocals), but the latter was replaced on-stage by new frontman Sam Carter in January of 2007 during the last show of the band’s subsequent tour. Later that year, they recorded their sophomore effort, Ruin (introducing new bass player Ali Dean), and signed a worldwide deal with Century Media for its re-release in 2008. Their first American tour was next on the agenda, and saw the group joining Suicide Silence, Beneath the Massacre, and the Tony Danza Tapdance Extravaganza, among other bands. Upon their return to England, Architects recorded their third album, Hollow Crown, which arrived in 2009. They took their sound in a relatively subdued, post-hardcore direction on their fourth album, 2011’s Here and Now, but transitioned back to a heavier sound the following year on Daybreaker. The band continued to expand their limits, pushing things in both extreme and ambient directions on their sixth album, Lost Forever // Lost Together, which appeared in 2014. Two years later, they issued the critically acclaimed and uncompromising All Our Gods Have Abandoned Us, which they described as their „heaviest and darkest work” to date. It would be the final recording for founding guitarist and primary songwriter Tom Searle, who passed away in August of that year after a battle with cancer.

September 2017 saw the band issue the single „Doomsday,” which evolved from a song that was partially written by Searle before his passing. It appeared on the group’s eighth studio long-player, Holy Hell, that was released the following year. That album was the first to feature new guitarist Josh Middleton (Sylosis), who had filled in on tour. He co-produced and contributed to the writing on Architects’ ninth album, For Those That Wish to Exist, released in February 2021. The album deals with climate change and features guest vocals from members of Parkway Drive, Royal Blood, and Biffy Clyro. Unable to tour during the COVID-19 pandemic, the band filmed an elaborate livestream performance of the album at Abbey Road Studios and released it as a live album in March of the following year. After having made their previous LP remotely during the pandemic, Architects were able to return to the studio as a unit, capturing a more spontaneous live energy on their tenth album, The Classic Symptoms of a Broken Spirit, which appeared in October 2022.

AVATAR – Heavy Metal

In terms of music, 21st century Sweden has become what England was in the sixties. Amongst that small, but beautiful, country lives a plethora of multi-talented individuals that create some of the most incendiary heavy music that is in the game today.

The group’s eponymous third studio album was released in 2009, and the next two years found Avatar hitting the tour circuit hard, including their first-ever U.S. jaunt. Arriving in 2012, the well-received Black Waltz peaked at the number 25 slot in their native Sweden, and 2014’s Hail the Apocalypse became the first Avatar outing to crack the Billboard 200. In 2016 the band issued its sixth studio long-player, Feathers & Flesh, a conceptual piece about an owl who declares war on the world. Their seventh, Avatar Country, arrived in early 2018.

Produced by Jay Ruston (Stone Sour, Anthrax, Steel Panther), the album featured the singles „A Statue of the King” and „The King Wants You,” as well as Avatar’s spin on the Swedish royal anthem „Glory to Our King.” The following year, the band released their first live outing, The King Live in Paris. 2020 found them returning to the studio once again with Jay Ruston to record their eighth album. The resulting Hunter Gatherer – which delivered a blast of melodic death metal – was issued toward the end of the year.

CALIGULA’S HORSE – Progressive Metal

Set to perform at the Rockstadt Extreme Festival from 2-6 August, Brisbane-based Caligula’s Horse has established itself as a prominent force in the progressive metal scene. Founded in 2011 by Sam Vallen and Jim Grey, the band’s captivating sound and storytelling derive from influences like Steely Dan, Coheed and Cambria, Haken, Dream Theater, and Circus Maximus.

The current lineup consists of Jim Grey (lead vocals), Sam Vallen (lead guitar), Dale Prinsse (bass), and Josh Griffin (drums). Their 2015 album Bloom achieved chart success, peaking at number 16 on the Australian Albums ARIA Chart.

Caligula’s Horse’s discography started with debut album Moments from Ephemeral City (2011) and EP Colossus (2011). They released The Tide, the Thief & River’s End (2013) after signing with Welkin Records, followed by Bloom (2015) with Inside Out Music, and In Contact (2017) introducing new members Adrian Goleby (guitar) and Josh Griffin (drums). Their fifth album, Rise Radiant (2020), preceded Goleby’s departure in 2021.

Their music fuses progressive rock and metal, with Sam Vallen incorporating Steely Dan’s signature „mu” chords. This powerful sound, combined with emotional storytelling, creates a captivating experience.

The band’s dedication, growth, and talent have made them a force in the progressive metal scene. With their current lineup, Caligula’s Horse continues to evolve and push boundaries. As they gear up for the Rockstadt Extreme Festival, we can’t wait to witness their live performance in August and invite fellow progressive metal fans to join us for an unforgettable experience with this exceptional band.

CAR BOMB – Mathcore

Car Bomb is one of the exciting bands that will be performing at the Rockstadt Extreme Festival, happening near Râșnov Fortress in Transylvania from 2-6 August 2023. The band’s unique style, marked by their experimental and aggressive approach to metal, promises to be a highlight of the festival. Everyone involved with the festival is eagerly anticipating Car Bomb’s performance and can’t wait for attendees to experience their disorienting sound and tempo changes live.

Car Bomb is an American mathcore band from Long Island, New York that was formed in 2000. The band members include Michael Dafferner on vocals, Greg Kubacki on guitar, Jon Modell on bass, and Elliot Hoffman on drums.

The band released a three-track demo in 2004, which featured early versions of songs „Rid”, „M^6” and „His Eyes”. In 2007, Car Bomb released their debut album Centralia through Relapse Records.

The band members have day jobs in technologically-inclined professions, which restricts their schedules but offers them uncommon financial resources. This has allowed them to build their own studio and even make their own microphones from scratch, reducing their dependence on record labels to finance recordings and production costs.

Car Bomb’s second album, w^w^^w^w (2012), features a guest vocal appearance from Joseph Duplantier of the band Gojira. Their third album, Meta (2016), also features a guest vocal appearance from Duplantier, as well as an appearance from Frank Mullen of Suffocation. The band released their fourth album, Mordial, in 2019, which was written and produced by Greg Kubacki and mixed by Adam „Nolly” Getgood (Periphery, Devin Townsend, Animals as Leaders).

Rockstadt Extreme Festival is excited to welcome Car Bomb to the lineup for the 2023 edition of the festival, which takes place near Râșnov Fortress in Transylvania from August 2-6. Fans can look forward to experiencing the band’s unique sound live in person.

DEEZ NUTS – Hardrock Punk

Hardcore punk band hailing from Melbourne, Australia, Deez Nuts has been rocking out since 2007. They will be taking the stage at the Rockstadt Extreme festival in Transilvania, 2-6 August near Râșnov Fortress, and fans of their party-centric, hardcore punk style won’t want to miss this performance.

Founded by JJ Peters, who was formerly a drummer for Australian metalcore band I Killed the Prom Queen, the band has released one EP and six studio albums. With their unique blend of hip-hop and hardcore punk styles of music, Deez Nuts has developed a massive following over the years. After playing a few shows in Melbourne, Deez Nuts embarked on their first tour of Australia in October 2007, followed by a Boys of Summer Tour in January 2008 with Silverstein. Shortly after the Boys of Summer Tour, Peters began writing the next release for the band. Deez Nuts’ debut album, Stay True, was recorded in August 2008, and the band embarked on a tour of Australia in September 2008, joined by I Killed the Prom Queen alumni Michael Crafter’s new band Confession. Afterward, they were invited to tour Europe with English deathcore act Bring Me the Horizon along with friends the Red Shore and Ignominious Incarceration.

Deez Nuts released their second studio album, This One’s for You, on 21 May 2010 (in Australia). The album features appearances by several guest vocalists, including Oli Sykes of Bring Me the Horizon on the song „If You Don’t Know Now You Know”.

In March 2013, Deez Nuts released their third album, Bout It!, which features guest appearances from a number of musicians and was produced by Shane Frisby (The Ghost Inside). Their fourth album, Word Is Bond, followed in 2015, and their fifth studio long-player, 2017’s Binge & Purgatory, featured the singles „Commas & Zeroes,” „Discord,” and „Purgatory.” Deez Nuts has gained a massive following among fans of punk rock and hardcore music, and their energetic live performances have cemented their status as one of the most exciting live acts in the world today.

Fans can catch Deez Nuts at Rockstadt Extreme festival in Transylvania, 2-6 August near Râșnov Fortress in Transylvania, where they will be performing alongside some of the biggest names in the genre. Be sure to catch them live and see what all the fuss is about!

DEICIDE – Death Metal

A punishing American death metal group with a penchant for pairing uncompromising decibels with controversy, Deicide emerged in the late 1980s alongside contemporaries like Cannibal Corpse and Carcass. Based out of Tampa, Florida, the band poisoned the mainstream in 1992 with their sophomore effort Legion, which became one of the best-selling death metal LPs of the Nielsen Soundscan era. Employing a lethal mix of sonic heft and Satanism, Deicide’s championing of animal sacrifices and anti-Christianity rhetoric yielded attacks from religious organizations and animal rights groups – bomb threats from the Animal Militia culminated in an explosion at a Stockholm venue in 1992 – and helped make them one of the more prominent social and sonic antagonizers in the ’90s death metal scene.

The group continued to mine the depths of depravity and despair well into the 2010s, occasionally tempering their death metal assault with forays into more melodic forms of extreme metal, which they did in the late 2000s, but 2013’s In the Minds of Evil and 2018’s Overtures of Blasphemy marked a return to the brutality of their Legion days.

Subsequent Roadrunner efforts like Once Upon the Cross (1995), Serpents of the Light (1997), Insineratehymn (2000), and In Torment, In Hell (2001) followed suit, but the band’s relentless pace, both in the studio and on the road, eventually took its toll. By the time Deicide released Scars of the Crucifix via Earache in 2004, the band’s inner turmoil had grown to match their combustive aural attack, resulting in the departures of both Hoffman brothers – the siblings who would later re-form Amon. After cycling through potential players, the band settled on ex-Cannibal Corpse guitarist Jack Owen and six-stringer Ralph Santolla, formerly of Death and Iced Earth, both of whom made their studio debuts on the group’s eighth long player, 2006’s The Stench of Redemption.

The LP proved to be Deicide’s most successful outing to date, peaking at number 11 on the Heatseekers chart. 2008’s Til Death Do Us Part saw the band experimenting with elements of doom metal, as did 2011’s To Hell with God, the latter of which saw the group move from Earache to Century Media. Santolla left the fold in 2012, and was replaced by Kevin Quirion, who made his first studio appearance on 2013’s In the Minds of Evil, which marked a return to the inexorable, old-school death metal attack of past outings. It would be the last Deicide album for Owen, who left in 2016. The band tapped Monstrosity guitarist Mark English for album number 12, 2018’s reliably unrelenting Overtures of Blasphemy.

DISCHARGE – Crust · Hardcore Punk

This is special one!

DISCHARGE is one of the most important names in the history of heavy music and it gives us immense pleasure to have them over at Rockstadt Extreme Fest. The band is known for influencing several sub-genres of extreme music and their songs have been covered by some of the biggest names in heavy metal and other genres.

Discharge paved the way for various extreme metal styles such as thrash metal, black metal, crust punk and grindcore. The band’s „brutal, extremist approach” and „extreme thrash noise” style of playing eventually led to the thrash genre. „Discharge’s influence on heavy metal is incalculable and metal superstars such as Metallica, Anthrax, Machine Head, Sepultura, Soulfly, Prong and Arch Enemy have covered Discharge’s songs in tribute. Discharge was a major influence on at least two generations of metal. Some photos of Metallica, Anthrax and Exodus band members from the early 1980s show them wearing Discharge T-shirts.Thrash metal groups like Metallica and Slayer were inspired by their speed and brutality. Anthrax was already playing Discharge cover songs by 1983.

In 1982, Discharge finally issued their long-awaited full-length debut, Hear Nothing, See Nothing, Say Nothing, which reached the Top 40; a U.S. tour followed, and upon returning home, the group recorded a new single, „State Violence, State Control.” Bones then left to form his own unit, Broken Bones, and was replaced by guitarist Peter „Pooch” Pyrtle for the EP Warning: Her Majesty’s Government Can Seriously Damage Your Health. In the wake of another 7″, „The More I See,” both Pyrtle and Maloney departed; the singles collection Never Again followed in 1984, and with new guitarist Les „The Mole” Hunt and drummer Nick Haymaker, Discharge released „Ignorance” a year later. Maloney returned to the fold for the 1986 LP Grave New World, which also featured new guitarist Stephen Brooks.

Wainwright was the next to go, and Discharge spent the next several years in limbo, occasionally releasing live material from their heyday. Finally, in 1991 the group returned with a new album, Massacre Divine, followed by Shootin’ Up the World. By 1997, the classic lineup of Cal, Bones, Rainy, and Tez had re-formed; around that same time, a tribute album titled Discharged celebrated the band’s continuing influence. Similarly, Metallica’s 1998 collection Garage, Inc. featured two Discharge covers – „Free Speech for the Dumb” and „The More I See.”

Time would go by before Discharge made any new music, but in 2002 they released an eponymous album featuring the original lineup. With original vocalist Cal dropping out of touring, the Varukers’ Anthony „Rat” Martin stepped in. The band returned to the studio to record its sixth album, 2008’s Disensitise – this time without drummer Tez, who was replaced by Dave Caution – which saw the four-piece returning to its earlier punk sound. The Propaganda Feeds EP appeared in 2011, and a year later the group released a split single with Off with Their Heads. By 2014 Martin was replaced by vocalist JJ, while original drummer Tez returned to the band, this time playing rhythm guitar and making the group a five-piece for the first time. At the end of 2015, Discharge announced they had signed with Nuclear Blast and were readying their seventh studio album. Preceded by the single „Hatebomb,” the album End of Days was released in May of 2016.

DROPKICK MURPHYS – Celtic Punk

Taking their musical cues from British Oi!, American hardcore, and traditional Irish music, Boston’s Dropkick Murphys have built a reputation as one of America’s most celebrated Celtic punk outfits. The group formed in the late 1990s as a fiery, though relatively straightforward punk outfit, but through the years began incorporating traditional Irish folk instrumentation and melody into their unruly sound. With songs about working-class troubles, street-tough solidarity, and the joys to be found at the bottom of a bottle, the Murphys won over both traditional punk fans and mainstream revelers, particularly after their song „Shipping Off to Boston” was featured in Martin Scorsese’s 2006 Oscar-winning film The Departed. In subsequent years, the band’s audience increased significantly with albums like 2011’s Going Out in Style and 2017’s 11 Short Stories of Pain & Glory consistently charting in the Top Ten. Also active in charitable causes and politics, they founded the Claddagh Fund to support community-based non-profits and have essentially become regional heroes in their hometown. Following 2021’s Turn Up That Dial the Murphys returned with their first all-acoustic set in 2022’s This Machine Still Kills Fascists.

Dropkick Murphys formed in South Boston in 1996; vocalist Mike McColgan, guitarist Rick Barton, and bassist Ken Casey comprised the original nucleus of the group, with a series of drummers passing through the lineup before the addition of mainstay Matt Kelly in 1997. After a series of EPs, including Fire & Brimstone, Tattoos & Scally Caps, and Boys on the Docks, the Murphys signed to Hellcat Records to issue their 1998 full-length Do or Die, produced by Rancid’s Lars Frederiksen. McColgan exited the group soon after (he later went on to form the like-minded Street Dogs) and was replaced by vocalist Al Barr for the follow-up, 1999’s The Gang’s All Here.

Their Irish pride shone through the next year, when Live on St. Patrick’s Day from Boston, MA was released in the summer. Recorded at the biggest Irish-American celebration of the year in a town known for its widespread Irish heritage, the set was a blistering example of their intense and lively gigs. As the band prepped for the annual Vans Warped Tour in summer 2003, they released Blackout in June; the album featured new bagpipe player Scruffy Wallace and accordionist Tim Brennan (who further took over mandolin and tin whistle after Foltz left following some touring). The Murphys reworked the Boston Red Sox anthem „Tessie” on their mid-2004 EP Tessie, which subsequently became the theme song to the Sox’s World Series run that year and was featured in the movie Fever Pitch. Warrior’s Code followed in 2005, and one of its songs, „I’m Shipping Up to Boston,” was later used in the 2006 Martin Scorsese film The Departed, become their biggest hit. Soon after, the Murphys recorded The Meanest of Times, a collection of songs about family loyalty, featured guest appearances by Spider Stacy of the Pogues and Ronnie Drew of the Dubliners, and was released in mid-September 2007. With the 2008 departure of lead guitarist Orrell, the group welcome multi-instrumentalist Jeff DaRosa into the fold and promoted Brennan to lead guitar.

Live on Lansdowne, Boston MA, a CD/DVD of tracks culled from the week of St. Patrick’s Day shows in Boston in 2009, was released in 2010. For their next studio effort, the band looked inward to create a concept album, combining their own experiences to create the fictional character Cornelius Larkin. The result was their seventh album, Going Out in Style, which was released in 2011 on their Born & Bred label. 2012 saw the band follow up with Live at Fenway before returning the next year with their eighth studio effort, Signed and Sealed in Blood. The Murphys returned in early 2017 with their ninth studio effort, 11 Short Stories of Pain & Glory. The album was their first to be recorded outside of Massachusetts, with the band relocating to El Paso, Texas for the entire creative process. Inspired by the group’s work with the Claddagh Fund for recovering addicts, it was released once again through their own imprint, Born & Bred Records. Upon release, 11 Short Stories debuted at number eight on the Billboard 200. Following its release, the band headed out on an extensive world tour, including dates with Rancid in North America. Recording started on their tenth album in 2018, with a handful of tracks released in the interim, and by 2020, with COVID-19 putting tours on hold, the group focused on finishing the release. On it the band opted to move away from the enraged content of their previous albums, instead writing uplifting, singalong, feel-good anthems along with an ode to Barr’s father and the numerous people lost to COVID-19. The resulting album, Turn Up That Dial, was issued at the beginning of 2021. The following year Barr went on hiatus from the band to tend to his ailing mother. In his absence, they recorded their first all-acoustic set featuring songs set to unused Woody Guthrie lyrics. „Two 6’s Upside Down” marked the first offering from This Machine Still Kills Fascists.

DYING FETUS – Brutal Death Metal · Grindcore

Though forever doomed, commercially speaking, by their controversial name, Maryland’s Dying Fetus endured beyond most observers’ wildest expectations. Formed in the waning days of death metal’s glorious heyday (1991, to be exact) by John Gallagher (guitar/vocals), Nick Speleos (guitar), Brian Latta (guitar), Jason Netherton (bass), and Kevin Talley (drums), Dying Fetus combined their death metal with hardcore influences in order to develop their own form of American grindcore. But while pioneering bands like Napalm Death and Carcass had taken the U.K. and Europe by storm, this subgenre never really caught on in America, and had been utterly buried by grunge by the time Dying Fetus released their 1995 debut, Infatuation with Malevolence, which, admittedly did little more than collect their old demos into a single package.

Midway through 2001, Gallagher was handed resignation letters from the other members of the group, who proceeded to join forces in a new project called Misery Index, and thus left the future of Dying Fetus very much in doubt. But to everyone’s surprise, Gallagher wasted no time hiring an entirely new lineup consisting of vocalist Vince Matthews, guitarist Mike Kimball, bassist Sean Beasely, and drummer Erik Sayenga. A new single entitled „Vengeance Unleashed” was recorded to support the band’s touring commitments, which included that year’s Wacken Open Air Festival, after which Dying Fetus entered the studio to prepare their fifth album, 2003’s eagerly awaited Stop at Nothing. The blistering War of Attrition appeared in 2007, followed three years later by Descend into Depravity – both of them on Relapse. Arriving in 2012, Reign Supreme became their first to reach the main Billboard album charts. In 2017 the band issued its ninth studio long-player, Wrong One to Fuck With, again via Relapse.

EMBRYO – Melodic Death Metal

Embryo is a melodic death metal band hailing from Italy. Known for their unique sound that blends various elements of the genre, they are one of the most exciting bands in the scene today. Their sophomore album, No God Slave, is a testament to their dedication and passion for music.

Embryo is set to perform at Rockstadt Extreme Festival in Transylvania this year, which is scheduled to take place near the historic Râșnov Fortress from 2-6 August. It’s an exciting opportunity for fans of the melodic death metal genre to experience Embryo’s distinctive sound in a live setting.

The vocals on No God Slave are a standout element of the album, with the vocalist showcasing his range and ability to switch between growls and screams seamlessly. The use of keys and piano gives the album a symphonic edge, with the keys providing a refreshing take on melody. The guitars, bass, and drums provide a groovy death metal style with technical flourishes that keep the listener engaged throughout.

Embryo’s sound is a bit more extreme than most melodic death metal bands, but this is what makes them stand out. The band’s sound is a blend of various styles, with each instrument contributing something unique to the mix. The album features moments of thrash, modern death metal, and even a bit of tech metal. The combination of all these styles creates a sound that is truly unique and captivating.

Embryo is a band that is not afraid to take risks and experiment with their sound, and this is what makes them a must-see act. Fans of melodic death metal should definitely check out their latest album, No God Slave, and catch them live at the Rockstadt Extreme Festival in Transylvania, near Râșnov Fortress from August 2-6, 2023. It is sure to be an unforgettable experience for all who attend.