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Home Events (CANCELLED) Rockstadt Extreme Fest – 30 july – 2 august 2020 – Rasnov (RO)

(CANCELLED) Rockstadt Extreme Fest – 30 july – 2 august 2020 – Rasnov (RO)

Dear friends,
Thank you for your support, patience and understanding!
We want you to know that, despite the complicated and unprecedented situation, we have not forgotten about YOU because the festival is made for YOU. Thus, we want to give you first-hand information about how things are.
The authorities do not provide answers to the question of what happens to summer festivals in order to better manage our relationship with you and all partners and suppliers involved with Rockstadt Extreme Fest.
The festivals in Europe have rescheduled this year’s edition for the next year, being pushed to do so due to the decision of the authorities, the cancellations of confirmed bands tours, the uncertainty about the evolution of the pandemic, the risk of exposing participants to an environment favorable to the spread of the virus and care for the health of the participants.
We have worked for the 2020 edition to have its best line-up so far before the one in 2019, permanently having YOU on or minds and the whole human resources that make possible such a festival. There are people you don’t see but who are essential: our employees, contract workers, stage technical team, sound, lights, pyrotechnics, security, administrative team, volunteers, firefighters, ambulance and first aid, cleaning and sanitation, logistics and transport, hospitality and accommodation, purchases, bartenders and those from whom you buy food, the photo and video team, press collaborators, the marketing and advertising team. Plus other external collaborators for various services. All of them together with YOU make it possible for Rockstadt Extreme Fest to exist in Romania for 8 years already, with international recognition.
Therefore, we have to reschedule the festival for 2021, between August 5 and 8. We hope this information will help you to reconfigure your accommodation, transportation, holidays and your general agenda for that timeframe. We are glad to tell you that all the bands that were already confirmed are open to rescheduling and we will come back with clear information on it. In addition, we will add other important bands in the line-up.
Your festival passes that you have already bought will be valid for 2021 and, in addition, you will receive a discount of 6 Euros which can be spent at the festival. We will be back with more info on this discount.
Our message to you is a simple and essential one: THE FESTIVAL DEPENDS ON YOUR SUPPORT and you can do that by keeping your 2021 festival pass.
There is also the option to sell your pass to another person because it is not nominal. We recommend that you use dedicated and secure platforms. The one who will buy the pass from you will also benefit the discount.
If we cannot see each other in 2021, you can change the pass you have with a voucher that you can use until 30.09.2021 for services and products offered by the Asociatia Culturala REF as a promoter. We will be back with details on this subject.
Although the option to reimburse the pass is not mandatory for us, we can do this if you cannot participate but only after the 2021 festival ends, until the 01st of September, 2021 at the latest.
We extend the possibility of purchasing the 82 Euros pass with one more week, until the 1st of June, 2020. These passes will also benefit the discount we mentioned for the festival next year.
Starting from Monday, the 1st of June, 2020, you can buy passes for Rockstadt Extreme Fest 2021 as follows:
– The first 1,500 passes, but not later than 15.10.2020 – 84 Euros
– The next 1,500 passes, but not later than 15.03.2021 – 94 Euros
– The rest of the passes, but not later than 05.07.2021 – 105 Euros
– From 05.07.2021 and during the festival – 115 Euros
Tickets per day will cost 45 Euros and we will let you know when they are on sale.
We will get back to you shortly with more info and if you have any other questions or concerns, please contact us by e-mail at info@rockstadtextremefest.ro.
Thank you for your support, patience and understanding. Take care of yourself!
Rockstadt Extreme Fest team


Rockstadt Extreme Fest 2020 will take place between July 30 – August 02 in Rasnov, at the foot of Rasnov Fortress, on the biathlon field.

Troops confirmed so far:
Cattle Decapitation
Craddle Of Filth
Death Angel
Despised Icon
In Mourning
In The Woods…
Infected Rain
October Tide
Phil H. Anselmo & The Illegals
Rotting Christ
Tableau Mort
The Black Dahlia Murder
The True Mayhem

Tickets are available online on the ticket and on the ticket network with the following pre-sale categories:

1000 subscriptions at the price of 270 lei but not more than 25.11.2019

1000 subscriptions at the price of 310 lei but not more than 20.01.2020

1000 subscriptions at the price of 350 lei but not more than 16.03.2020

1000 subscriptions at the price of 390 lei but not more than 18.05.2020

In the last threshold of its online pre-sale and at the entrance to the festival the subscriptions will be priced at 440 lei.

For the 2020 edition day tickets will be available at the price of 220 lei / day from 29.06.2020.

Children up to 12 years old have free access only accompanied by at least one parent or legal guardian who holds a valid entry ticket.


Anthrax [Speed Thrash Metal] [USA]

Anthrax or one of the “Big Four” of thrash metal, as it is known by the fans, was established 38 years ago in New York (1981), representing America’s own response to the New Wave of British heavy metal at that time. The group gained popularity on the American scene of the 80s, and after this genre gained more and more public reach, in the mid-1980s, Anthrax was included in “The Big Four” or the group of the most famous bands of this musical current, along with Metallica, Megadeth, and Slayer.

The project that has inspired and influenced generations of fans and musicians released 11 records and sold over 10 million albums worldwide, attracting fan appreciation and specialty criticism since the third one, “Among The Living ”(1987). Due to this, the band obtained a gold certification, granted by the RIAA (Recording Industry Association of America) based on the number of albums and singles sold. Since that time, the group has moved from one success to another, thanks to records such as “State of Euphoria” (1988), “Persistence of Time” (1990) or the compilation “Attack of the Killer B’s” (1991), album which entered the Top 30 of the Billboard 200 and recorded sales of over half a million pieces. And the successes didn’t stop there. “Sound of White Noise” (1993), reached number 7 on the Billboard 200, the best place ever obtained by the band.

The band is well known for the legendary energy in live concerts and the courage with which they experiment and with which they collaborate less usual for the metal scene, as is the case with the American hip hop group Public Enemy (2011).

As with any band, there are sometimes differences in vision or ideas, but the longevity of Anthrax is due to the fact that those in the project have always been able to find a way to get the best out of the contradictions, which adds a plus of their unique chemistry charm.
All five contribute with ideas and suggestions to each piece. Charlie Benante (drums) makes the first annotations along with the first riffs and writing new ideas or rhythms that appear during the sessions, Scott Ian (guitar) has a particular style that includes his lyrical ideas within the group, Bello (bass) has always been talented at writing tracks that keep his own Anthrax footprint, while Belladonna completes the unique Anthrax music note through the uniqueness of the vocal stamp.

As I Lay Dying [Metalcore] [USA]

Established in San Diego, California (USA), As I Lay Dying owes its name to the self-titled novel published by Willian Faulkner in 1930. The idea of this project belongs to Tim Lambesis (vocalist), who decided in 2000 to leave the band he was playing guitar for (Society’s Finest).

The band was successful from the beginning. The fourth album, for example, “An Ocean Between Us”, ranked 1st in the Top Rock Charts and 8th in the Top Billboard 200.

After the first three released, the band was already on stage at some of the biggest international festivals such as Wacken Open Air, With Full Force, Soundwave Festival, Sounds of the Underground, Warped Tour, Bloodstock Open Air or Taste of Chaos. “The Powerless Rise” (2010) was next, the 5th record enthusiastically received by specialty critics and fans and then “Awakened”, released in 2012, just before the group was silent for a while, until the beginning of 2018.

Reborn from ashes, the band returned with new forces and things to say. The first result of the new writings and themes explored, generated by the group’s hiatus and personal experiences, can be felt with “My Own Grave” single, released in 2018 included on the newest album: “Shaped By Fire” (September 2019).

The new record represents the musical expression of the explosive energy accumulated in these years, the energy embodied in a metal assault, which carries the artistic imprint that has made As I Lay Dying an extreme metal phenomenon for the last two decades. However, there is a secret ingredient that animates the creative force, as Nick Hipa (guitar) tells us: “For me,” Shaped By Fire “is the album with the highest significance. Each material captures and expresses what you are at that moment and the things you went through until then. At this point, we went through experiences that I would not have imagined and which made each of us evolve. I am proud of the band members and the result of their work on this album. We became better as musicians, as people and we wanted to share these things with our audience. Through “Shaped By Fire”.

Throughout their career, As I Lay Dying sold over 1 million albums worldwide, receiving the “Artist Of The Year” distinction at San Diego Music Awards (2005), the “Ultimate Metal God” distinction at MTV2 Music Awards ( 2007), they won a 2008 Best Metal Performance nomination at Grammy Awards (for the song “Nothing Left”) and have obtained hundreds of millions of broadcasts over almost twenty years of their career.

Overkill [Thrash Groove Metal] [USA]

The band’s history begins in 1980, in New Jersey, USA, from the ruins of a punk band, “the Lubricunts”, becoming one of the most appreciated thrash metal bands on the East Coast, along with another established band on the international scene which will at Rockstadt Extreme Fest: Anthrax.

After several band name options rejected by the members of the new band, the project is called “Overkill”, as the well-known Motörhead album. Overkill was, in fact, the only group of the first American thrash metal bands to sign a major record label, Atlantic Records, in 1986, and then became part of the wave of very popular thrash metal bands in the 1980s of the American continent (of which the “Big Four” also belong).

The band is said to have attracted the attention of the American underground scene since the “Power in Black” demo, which circulated intensely and inspired fans and new bands alike, such as Exodus or Testament. In 1985, the first EP, “Overkill” was released, which was sold out shortly after its release and helped to increase the band’s popularity to the point where they signed with the most influential independent heavy metal label, Megaforce Records. Thus began the road to success.

The debut record, “Feel the Fire” (1985), was enthusiastically received by critics and fans of the thrash metal genre, being regarded as a masterpiece of the genre and contributing to establishing the band’s popularity and position as one of the “engines” of the new 1908s stream of East Coast. The debut was followed by an intensive tour of Europe, along with Anthrax and Agent Steel, followed by the “Reign in Blood” tour in North America, where Overkill was the opening act for Slayer.

The commercial success continued with the second album, “Taking Over” (1987), which reached number 191 in the Top Billboard 200. The following record (“Under the Influence” – 1988, “The Years of Decay” – 1989, “Horrorscope” – 1991, “I Hear Black” – 1993 or “WFO” – 1994) enjoyed the public’s appreciation, specialized criticism, entering the Top Billboard 200.

Overkill continued to gain popularity, with the following albums released on the market: “The Electric Age” (2012), “White Devil Armory” (2014) and “The Grinding Wheel” (2017), resulting in sales of over 16 million pieces.

Unleashed [Death Metal] [Sweden]

Unleashed is a musical project founded by Johnny Hedlund in 1989 in Stockholm. The band was noted since the demos times, which brought them a contract with Century Media Records, a known German label, and the possibility of releasing a debut record, “Where No Life Dwells” (1991), followed immediately by a tour with Morbid Angel through Europe and the USA. Just a year afterward, the second album is released, “Shadows in the Deep” (1992), which also includes a cover of the song “Countess Bathory” from Venom, and later “Open Sea” and “Victory” (1995), records well received by the audience.

One of the things for which Unleashed was noted was the interesting combination of themes approached – lyrical themes drawn from Viking culture and values were combined with aspects of Nordic traditional cultures and with topics of pre-Christian traditions. For example, “The Hunt for White Christ” (2018), the band’s 13th studio album and also the fourth volume in “World of Odalheim and their Midgard warriors,” is a story. written by Hedlund (the founder of the band) to mark the 30th anniversary of his career and to illustrate the past, present and what Hedlund considers to be the future and values of the true Vikings.

Over the course of three decades, Unleashed influenced the Swedish music scene and beyond, inspiring other art projects and becoming one of the “Big Four” of Swedish death metal, alongside Dismember, Entombed, and Grave. With these bands, Unleashed also went on a European tour, entitled “Masters of Death tour”, in 2006, after the release of his eighth album, “Midvinterblot”.

Like any band that has managed to gain international acclaim, Unleashed has appeared on numerous popular festivals, such as Summer Breeze Open Air or With Full Force, and will be performing Rockstadt Extreme Fest 2020.

The Black Dahlia Murder immediately established themselves at the forefront of the then-burgeoning U.S. metal scene when they released their full-length Metal Blade debut Unhallowed in June 2003. The release of that critically lauded album, however, was only the beginning of an epic journey that would find this Detroit, Michigan, quintet dealing with personnel issues (founding member drummer Cory Grady was replaced by Zach Gibson) and a nonstop touring itinerary that kept them on the road for nearly two years playing with bands as diverse as The Red Chord, Arch Enemy, Napalm Death and Terror. But those experiences ultimately had a profound effect on their latest Metal Blade release, Miasma. “The road has been what really made Miasma what it is,” vocalist Trevor Strnad confesses. “Much of the content here is a direct result of our experience in the band.”

It is no surprise, then, that Miasma reflects the insanity of life on the road for five guys, barely over the legal drinking age, who were playing an endless string of shows across North America and Europe. “It’s quite a bit more personal lyrically, ranging from anthems of cheap sex and drug use to more classic Black Dahlia Murder horror style,” says Strnad. “I’ve tried to reinvent BDM lyrically here. It’s still dark. It’s still really evil shit.”

Strnad’s growth as a lyricist is just one of the ways the band expanded its sound on Miasma. Guitarist Brian Eschbach contributed more to the writing process while his counterpart John Kempainen wrote and played solos for every track. As a result, The Black Dahlia Murder–rounded out by bassist Dave Lock–have created an album that reflects the bonds cemented by the band’s two-year odyssey. Recorded and co-produced with the band by Scarlet drummer Andreas Magnusson at Planet Red Studio in Richmond, Virginia, Miasma is a deadly reinvention of The Black Dahlia Murder’s nefariously nasty melodic death metal sound. It is a sound that Kempainen simply describes as “more pissed off.” Strnad sees other improvements, as well, however. “The new songs are much heavier than anything on Unhallowed,” he declares. “We were making a conscious effort to challenge ourselves as players and give each song an identity of its own. And the addition of Zach has enabled us as a unit to write more complex and interesting arrangements.”

Miasma is just the latest chapter in the ever-twisted saga of The Black Dahlia Murder. Like the long-unsolved murder of a young Hollywood starlet that the band took its name from, The Black Dahlia Murder’s appeal is visceral and dark, a terror-filled exploration of extreme sounds and vicious brutality. And it is a step closer to the apex the band is still aiming its sights for. “I feel that we are yet to reach our prime,” says Strnad, “but Miasma is many steps closer to where we want to be. We have a better band in 2005 and now a record to show for it.”

Phil H. Anselmo & The Illegals will hit Rockstadt Extreme Fest with a Vulgar Display Of Pantera setlist!

Cattle Decapitation [Progressive Death Metal / Deathgrind / Grindcore] [USA]

A name that has influenced the international music industry for over 19 years and has released seven albums (and one announced later this year), Cattle Decapitation is one of the most effervescent, virulent and tireless forces of the extreme music genres.

The secret of the band? The refusal to compromise and, as Travis Ryan, the vocalist of the band, says, “the feeling that as we get older we have less and less to lose, a liberating feeling, in fact, that helps us to experience it to the extreme, following the desire to compose something new and full of explosive energy ”.

The story of the deathgrind / death metal band, which has made a reputation for its nonconformist and controversial appearances on the international metal scene, begins in 1996 in San Diego, California (USA). As the name suggests, many of the songs of Cattle Decapitation address some of the most important topics of contemporary society, protesting against the abuse of humanity on the environment and referring to topics such as misanthropy, genocide of the human race or animal abuse, illustrating human beings in situations where animals are condemned by some people (experiments or liquidation).

The controversies that accompanied the band throughout the career were born not only from the topics covered, the vehemence of the lyrics or compositions but also due to the artwork chosen by the group for albums. “To Serve Man”, for example, launched in 2002, struck Germany, where the local distribution company refused to promote the new record because of the graphics chosen for the album cover. The situation was repeated with the record published only two years later, when “Humanure” was censored or was not distributed in some countries due to the graphic on the cover, thus making it difficult for fans to access the new songs.

In addition to the discussions in these situations, the band’s songs and the way they were chosen to promote the albums attracted the attention and understanding of the messages Cattle Decapitation by the journalists in profile, one of them (Garry Sharpe-Young), stressing, moreover, that “this the band is one of those few metal bands whose messages hit as loud as the music I compose. ” And these impact messages did not stop appearing, in 2012 being launched “Monolith of Inhumanity”, an album received with enthusiasm by fans and specialized critics. The material was supplemented by tours alongside well-known international stage names such as Suffocation, Cryptopsy, The Black Dahlia Murder, Deicide, Behemoth, Hate Eternal or Crisis.

2015 brought “The Anthropocene Extinction”, under Metal Blade Records, which continued the series of positive reviews generated by the band throughout the career, being defined as another sample that confirms the position of the band’s records as the most violent musical expressions of the spectrum. Extreme metal, pieces that force the known sonic limits of virulence, but manage to maintain their musicality without straining their intensity.

On a lyrical level, if “Monolith of Inhumanity” describes the fate of the human species as hard and explicit as it insisted on exploiting and destroying the planet on which it lived, the album “The Anthropocene Extinction” continues and develops this harsh story, placing the place of action in the era following the ecological disaster, looking at the consequences that continue to affect the Earth, the entire ecosystem, like a domino that collapses even after the disappearance of the human race. Thus, “The Anthropocene Extinction” is placed after the moment of destruction that humanity has brought upon it, the album is defined by Travis Ryan as “the most depressing album he has ever recorded.” In addition to commercial success, this material is also the first of the Cattle Decapitation to reach the 100th place on the Billboard 200.

And the end of 2019 is preparing a new surprise for the fans of the extreme genre, offered by the long-awaited release of the newest material of the group, entitled “Death Atlas” and prepared under the careful coordination of the producer Dave Otero (Allegaeon, Cephalic Carnage). It defines, in fact, the new material as one in which every detail has been carefully worked and in which every second, from the beginning to the end, is the result of a long work.

Dyscarnate [Death Metal] [United Kingdom]

The Dyscarnate story begins in 2004 when the UK underground scene began to be animated by this new musical project defined by virulent death metal, in which influences from Behemoth or Dying Fetus can be felt. After a series of local shows, in 2008, Dyscarnate released their first EP, “Annihilate to Liberate”, which brought the band a contract with Candlelight Records and Siege of Amida Records.

The debut album, entitled “Enduring the Massacre” and produced in collaboration with Chris Fielding (Primordial, Napalm Death) was immediately completed by a series of concerts with well-known names, such as Cephalic Carnage, Psycroptic, Despised Icon or The Black Dahlia Murder.

2012 came with another record called “And So It Came to Pass”, which brought even more recognition to the band, helping it carry the messages of death metal by touring countries across all continents – Australia, Europe, Asia, USA, Canada, Israel or Russia.

Inspiration continued to animate the three members of Dyscarnate, the creative effervescence resulting in a new album, “With All Their Might”, received with enthusiasm by fans and critics.

In The Woods … began its musical journey in 1991, in Kristiansand, Norway, when some of the members of former Green Carnation death metal band reunited to form a new project, which was defined by some as psychedelic black metal.
The group set out to explore as many musical genres as possible, with the first records fully proving this. “Heart of the Ages” (1995), the debut album is still considered a classic of the black metal style, which nevertheless extends its traditional boundaries by including keyboards or female vocals combined with distorted vocal passages. Through the following records, “Omnio” (1997) and “Strange In Stereo” (1999), the group was already beginning to approach the territories of doom metal, progressive rock or include avant-garde influences. If “Omnio” is considered by some to be the band’s best experimental album, due to the combination of deep vocals with a complex instrumental line, “Strange In Stereo” brings a twist of style, with more versatile and dark approaches.
After nine years of activity, however, the band took a short break, the last record released before this time being “Three Times Seven On A Pilgrimage” (2000) – considered a compilation of previous works, supplemented by a few covers of Pink Floyd , Jefferson Airplane or King Crimson and new parts, such as a new version of the song “Child Of Universal Tongue”.
In The Woods … returned to the music scene in 2004, under the label Debemur Morti Productions, bringing to light a new record: “Pure” (2016). The album continues to defy expectations and to surprise the listener through the musical combinations it brings, through the psychedelic tones of the keyboard, the melodic specific riffs or the unexpected vocal passages, supported by the newest member of the band, the vocal James “Mr. Fog ”Fogarty.
The new musical direction of the band is the result of artistic evolution: the chaotic mind of the youth turns into dark wisdom that only experience can bring, and the dark approaches are combined with doom influences that lead the band to the still unexplored musical territories.

Kampfar [Black Metal] [Norway]

Established in 1994, by Dolk, it is said that the group took its name from an old Norwegian fighting scream that means “Odin” or “Wotan” and that their music can be described as black metal inspired by Norwegian folklore and nature.

Only two years after its birth, the group brought to light the first EP, followed in 1997 by the first album “Mellom skogkledde aaser” and shortly after the second record “Fra underverdenen” (1999) – an important album that includes the song “Norse”, the first song in English. It marked a change in the style which moved away from the folk influences to deepen the exploration of different musical areas.

“Kvass” (2006) followed, then “Mare” (2010) and two other albums that will mark the entrance of Norwegian black metal in a new stage: “Djevelmakt” and “Profan” (2015), the last record being the one which earned them a “Spellemannprisen” award, the Norwegian equivalent of the Grammy Awards, in the “Best Achievement in the Metal genre” category.

After a short break dedicated to solving personal problems and writing new ideas, Kampfar members gathered and started work on a new record, which immortalized in musical form the period of suffering and healing that each had gone through. The result of this tumultuous stage can be learned on “Ofidians Manifest” (2019).

The album represents, according to the artists, a summary of their musical experience and evolution, considering that one of the creeds from which the band members did not depart was to release only materials that were better than the songs written until then.

Kataklysm: Born in 1992 from the cold winds of Montreal, Québec, Canada comes one of the country’s top extreme musical exports to date.

Relentlessness and a hard work ethic have made Kataklysm a household name in the extreme metal genre in addition to their overwhelmingly positive reputation of fan-friendliness.  With a career spanning over 20 years, Kataklysm is a leading force in the most brutal & powerful genre in heavy metal and has conquered territories such as Europe, North & South  America, Australia, and Asia while recently becoming the first Canadian metal band to ever play South Africa.

Kataklysm’s 2013 studio album, Waiting For The End To Come, experienced worldwide success in terms of album sales and touring.  Around the globe, the band played to full houses and paved new in-roads into Brazil, Japan, and South Africa where they played to their native fan bases for the very first time. That same year, Kataklysm won the “Metal Band of the Year” Award at the renowned Indie Awards ceremony in Ontario, Canada and soon after, was nominated in the “Best Metal/Hard Album of the Year” category at the prestigious Juno Awards (Canada’s equivalent to an American Grammy).

Fueled by the loyalty of their legions of fans who have made so many of the band’s accomplishments possible in their nearly twenty-five years of existence, the members of Kataklysm become even more inspired, determined, and unapologetic in their rise to the top of their genre by any means necessary. It’s now 2015 and Kataklysm are at it again – like a train that can’t stop its raging momentum.

With the completion of their twelfth studio album, Of Ghosts And Gods, Kataklysm is prepared to unleash a tsunami of the best possible hurt among the masses.  Of Ghosts And Gods was recorded in three different studios from Montreal, Quebec to Dallas, Texas and Sanford, Florida in order to harness the expertise of the metal industry greats who best understood the band’s talents and their vision.  Album tracking was entrusted to longtime producer/ Kataklysm guitarist J-F Dagenais (Despised Icon, Misery Index, Malevolent Creation); Kataklysm frontman Maurizio Iacono recorded his vocals with producer Mark Lewis (Cannibal Corpse, Devildriver, White Chapel) at Audiohammer Studios; album mixing was masterfully handled by legendary producer Andy Sneap (Megadeth, Amon Amarth, Testament).

The result is Of Ghosts And Gods – a melodic affair of top-notch brutality graced with intelligent songwriting. As expected, Kataklysm’s famous body-slamming riffs and grooves never falter. Upcoming artist Surtsey (Occvlta Designs) designed sinister album artwork depicting the reality of humanity’s beautifully disturbing existence and its impending death.  Endorsed by producer Mark Lewis as “Kataklysm‘s best album to date,” Of Ghosts And Gods demonstrates how – just like fine wine and an expert demolition crew – Kataklysm just keeps getting better with age.

Death Angel: Among the youngest bands ever to storm the metal genre, Death Angel has come to be known as one of the most influential bands to emerge from the thriving Bay Area Thrash Metal Scene in the early 1980s. An era when one could catch Cliff Burton (Metallica) at the front of the stage at Ruthie’s Inn banging his head to Death Angel’s inventive style, and speedy, complex arrangements.

The Black Dahlia Murder immediately established themselves at the forefront of the then-burgeoning U.S. metal scene when they released their full-length Metal Blade debut Unhallowed in June 2003. The release of that critically lauded album, however, was only the beginning of an epic journey that would find this Detroit, Michigan, quintet dealing with personnel issues (founding member drummer Cory Grady was replaced by Zach Gibson) and a nonstop touring itinerary that kept them on the road for nearly two years playing with bands as diverse as The Red Chord, Arch Enemy, Napalm Death and Terror. But those experiences ultimately had a profound effect on their latest Metal Blade release, Miasma. “The road has been what really made Miasma what it is,” vocalist Trevor Strnad confesses. “Much of the content here is a direct result of our experience in the band.”

It is no surprise, then, that Miasma reflects the insanity of life on the road for five guys, barely over the legal drinking age, who were playing an endless string of shows across North America and Europe. “It’s quite a bit more personal lyrically, ranging from anthems of cheap sex and drug use to more classic Black Dahlia Murder horror style,” says Strnad. “I’ve tried to reinvent BDM lyrically here. It’s still dark. It’s still really evil shit.”

Strnad’s growth as a lyricist is just one of the ways the band expanded its sound on Miasma. Guitarist Brian Eschbach contributed more to the writing process while his counterpart John Kempainen wrote and played solos for every track. As a result, The Black Dahlia Murder–rounded out by bassist Dave Lock–have created an album that reflects the bonds cemented by the band’s two-year odyssey. Recorded and co-produced with the band by Scarlet drummer Andreas Magnusson at Planet Red Studio in Richmond, Virginia, Miasma is a deadly reinvention of The Black Dahlia Murder’s nefariously nasty melodic death metal sound. It is a sound that Kempainen simply describes as “more pissed off.” Strnad sees other improvements, as well, however. “The new songs are much heavier than anything on Unhallowed,” he declares. “We were making a conscious effort to challenge ourselves as players and give each song an identity of its own. And the addition of Zach has enabled us as a unit to write more complex and interesting arrangements.”

Miasma is just the latest chapter in the ever-twisted saga of The Black Dahlia Murder. Like the long-unsolved murder of a young Hollywood starlet that the band took its name from, The Black Dahlia Murder’s appeal is visceral and dark, a terror-filled exploration of extreme sounds and vicious brutality. And it is a step closer to the apex the band is still aiming its sights for. “I feel that we are yet to reach our prime,” says Strnad, “but Miasma is many steps closer to where we want to be. We have a better band in 2005 and now a record to show for it.”

Infected Rain [Nu-Metal] [Republic of Moldavia]

A combination of female screaming, hard riffs and samples created the individual style of Infected Rain. The band was formed in 2008 and made its first appearance on stage on August 3, 2008, performing in a concert dedicated to Slayer. At the end of the same month Infected Rain recorded their first demo CD, which consisted of three songs: With Me, Parasite and No Idols. Over the next 2 years, the band appeared in several concerts in Moldova, Romania, and Ukraine. Infected Rain took 1st place at the Big Up! Urban Fest in 2009 and continued the stream of its successful performances at the Forest Kap in 2010 and 2011. In the summer of 2009, the band released their EP, which included six songs: Judgmental Trap, Panika, No More, Escape, Go Away and Homeless. Their first music video was for the song Judgmental Trap and was shot in winter of the following year. November 25, 2011, was marked by the release of the band’s first album, entitled Asylum. After that, the band went on a tour in Romania to support the album. In January 2012 the band released its second music video for the song At the Bottom of the Bottle and shortly after that performed at the Metal Special Fest as a headliner. In June, the band played at OST fest 2012 in Bucharest on the same stage with Dimmu Borgir and Motley Crue.

Shortly after that, they released a new music video for the song Me Against You, collaborating with Moldova Extreme Moto Cross. Then on March 8th, a music video for the single Stop Waiting came out. In the autumn of 2013, the band toured Romania, Russia, Ukraine, and Bulgaria as their first big tour. On May 15th of 2014 the band released the second album called “Embrace Eternity”. Later, in September and October was their big European tour in which they visited 12 countries. January of 2015 was marked with the release of 2 more music videos for the album “Embrace Eternity”. At the same time, the band never stopped concurring with new countries and headlining big festivals in Europe. 2016 started with the release of their new music video for the single Serendipity that gave a start to a new, heavier era for Infected Rain. Serendipity, Mold and Orphan soul music videos were released in 2017 and are part of the third album called “86” that was released on April 20th, 2017. The next year was dedicated to touring and composing new music. 2018 was a beautiful and intense year for IR. A year of exposure and interesting work and collaboration proposals. In fact, 2019 started right away with big announcements. Announcements of upcoming tours around the world and new music. After being independent for 10 years the band signed a record deal with the Austrian label Napalm records on February 13th and announced it on Valentine’s day with the big release of the new music video for the song Passerby. Passerby is the first single, then followed by The Earth Mantra, Lure and Storm, from the upcoming album called Endorphin that is going to see the light in 2019.

Mephorash [Sweden] [Black Metal]

The history of the band that self-defines as the “hidden blood of Uppsala” (the city where the project came from) or the essence of esoteric black metal according to other definitions, began in 2010 in Sweden when, in their own words, the members of the project and – the initiation into the dark arts and the exploration of the hidden black metal boundaries began.

Over the course of their nine years of career, Mephorash says they have extracted their creative energy from “Sitra Ahra” or the other world (the realm of evil in Kabbalistic texts), a journey expressed at the sound level through each piece, each of the 2 EPs, 4 full-length albums and one split. The materials illustrate at a lyrical level and in the compositions the hostile and frightening atmosphere of the tunnels leading to this realm of dark forces.

The musical journey takes the audience to the other dimension, to the depths beyond the moment of Creation, to the Primordial Chaos, perfectly surprised by the style full of virulence and explosive energy of the band, meant to awaken all six senses to each listener (the five senses from the Aristotelian tradition and that of intuition).

Each material in the discography of Mephorash continues a red thread, inducing a coherent air that follows deeply hidden faith. And the dynamic and ceremonial journey that the band members propose to listeners starts from the first material (“Death Awakens”, 2011) and takes them to the last album, entitled “Shem Ha Mephorash” (2019), a harder Hebrew term definable, but which can be interpreted as “the explicit name of God.”

Craddle Of Filth [Extreme Gothic Metal] [Great Britain]

A name that no longer needs presentations, Cradle of Filth has left its mark on the international metal scene for nearly thirty years. Established in Suffolk, UK, in 1991, the band set off on a continuous musical exploration, from the virulent black metal that marked the early materials, to the exploration of different areas that it successfully combined. Areas such as gothic or symphonic metal, which were mixed with influences of other subgenres belonging to the metal family. On a lyrical and aesthetic level, Cradle of Filth has become accustomed to its fans with themes strongly influenced by gothic literature, symbolism from mythology or horror films.

The creative fever, materialized in 12 albums (the latest, “Cryptoriana – The Seductiveness Of Decay” released in 2017) and one scheduled to appear in 2020, has brought Cradle of Filth members numerous appearances in some of the most respected specialist publications at international level, like Kerrang! or MTV, as well as the opportunity to take on the stage of numerous international festivals, dedicated to rock genres and beyond – such as Ozzfest, Download Festival or the popular Sziget Festival.

The debut, “The Principle of Evil Made Flesh” (1994), bears a very different footprint than the one for which CoF will become known but nonetheless has been included in the “Top 10 Metal Albums of the Last Twenty Years ”, made by Metal Hammer. The following materials that saw the light of day brought the band closer to international recognition, despite the difficulties with record companies or the fluctuation of the band’s composition, such as “Dusk … and Her Embrace: The Original Sin” (1996) or The EP “V Empire or Dark Faerytales in Phallustein” (1996), whose “Queen of Winter, Throned” came to be included in the list of twenty essential metal extreme hymns, ranking by Kerrang magazine in 2006.

From the very beginning, as the band members testify, Cradle of Filth has assumed the role of oracle of dark metal, whose mission is to explore the amorphous horrors that move in the shadow of humanity, revealing the opulence and enormous potential held by the capital sins of mankind, throughout the centuries of civilization, enriched by the pale romance of which humanity is capable and by the sensual shades of grotesque.

The latest album, “Cryptoriana – The Seductiveness Of Decay”, is the embodiment of the period of creative rebirth through which Cradle of Filth members pass, a period that brought them to the heights of elegant anger, complex compositions and mysterious lyrics with which they have always captivated their audience. , all gathered together, according to the members’ statements, in “the greatest studio effort they have made so far”. As Dani Filth, the vocalist of the band, says, “the album represents a step forward in a creative aspect, which capitalizes on the success of the musical approach found in” Hammer Of The Witches “, but which probes with even more courage the virulence of sound depths, to achieve something truly unique, but loyal to our previous musical incarnations. ”

From the captivating melodramatic atmosphere of the first two tracks “Exquisite Torments Await” and “Heartbreak And Seance”, the 12th Cradle of Filth album brought the band’s sound manifesto throughout nine anti-anthems. complex. As Dani Filth confesses: “the album is saturated, at the lyrical and melodic level, by the gothic horrors of the Victorian Era, the title fully reflecting this. «Cryptoriana» refers to the crazy passion or obsession with the supernatural encountered at that time, towards the graves and the passion for the macabre. The completion of the title, “The Seductiveness Of Decay,” underlines this attraction to death and the process of self-annihilation. “And the following material promises to carry this probe of humanity’s darkness and horror even further.

In Mourning [Progressive Melodic Death Metal] [Sweden]

In Mourning began their musical journey in Falun, Sweden, in the 2000s and since then they have released a series of records which were well received by the music industry, from the debut of “Shrouded Divine” (2008) and to “Garden”. of Storms ”(2019).
Initially described as a band with goth influences, music searches led the band to melodic and progressive death metal over time, often being described as one of the iconic names of the international progressive melodic death scene or, as some say, as successors. you have Opeth.
In Mourning, however, bring a more direct musical approach, which initially had doom accents, transformed in time into a melodious direction, enhanced by complex compositions. As a result, the songs became available in all corners of the world and brought to the band the sale of over 10,000 albums.

The True Mayhem [Black Metal] [Norway]

Mayhem, pioneers of Norwegian black metal and one of the most controversial metal bands in the world, is the new confirmation for Rockstadt Extreme Fest 2020, which will take place between July 30 and August 2, on the Biathlon field at the base of Rasnov Fortress.

Mayhem is a name that has left its mark on this genre internationally and has influenced the evolution of the metal scene in general, especially due to the band’s inclination towards continuous experimentation (a trend that marked the band’s career after 1993).

Mayhem’s contributions did not go unnoticed, the group receiving for the latest album, “Ordo Ad Chao” (“Order to Chaos”), the “Spellemannprisen” award in the “Best Metal Album” category (the Norwegian equivalent of the Grammy Awards).

Founded in 1984 in Oslo, the band is said to have been named after a Venom track, “Mayhem without Mercy.” After the release of the “Deathcrush” EP (1987), the band quickly attracted attention through the controversies generated by their live shows and the fact that it was associated with certain incidents marked by violence, some of which involved the burning of some churches in Norway. The tumultuous history also affected the band’s composition, leading to a musical break, shortly after the release of their debut album, “De Mysteriis Dom Sathanas” (1987).

The band’s second album, “Grand Declaration of War” (2000), was marked by strong progressive influences and metal avant-garde, dealing with themes related to war and post-apocalyptic damage. The record was followed by “Chimera” (2004), which shows a return of the band to the raw sound from the beginning but enhanced by the quality of the material’s production and by progressive influences.

2014 brought a new track, “Psywar”, and another album, “Esoteric Warfare”, followed by a tour in the US with Watain, Revenge and Rotting Christ. After only two years, the band released a new record, “De Mysteriis Dom. Sathanas “(” DMDS alive “) to release in 2018 a remastered version of” A Grand Declaration of War “and a film about the band, screened for the first time at the Sundance Film Festival, entitled” Lord of Chaos “(after a book with the same name).

Recently, Mayhem announced the release of a new album, “Daemon”, scheduled for the end of October 2019.

Mayhem joins the series of names already announced for the 2020 edition of Rockstadt Extreme Fest: Despised Icon (CA), Kataklysm (CA), Death Angel (US), The Black Dahlia Murder (US) and Rotting Christ (GR).

Despised Icon [Deathcore] [Canada]

Imagine a creature laying dormant beneath the earth, in an inhuman slumber since a time long forgotten. This creature reawakens, cracks up through the ground and finds a world it barely recognizes. Chaos, disorder, brutality, bloodthirst, and terror are all around. Seeking to restore some sense of order to its surroundings, the creature adopts the destructive nature it witnesses in man and begins a vengeful quest for power.

Mythology, fable, and metaphor collide with »Beast«, a blistering new album marking the return of Despised Icon. The genre-defining band is fully reawakened, poised to recapture the crown with the monstrous and merciless might of their potent expression. Featuring the men responsible for most of the band’s now-classic death metal catalog, »Beast« is a vicious commentary on the state of the world and the state of music itself.

This is old school Despised Icon reminiscent of »The Healing Process« (2005) and »The Ills Of Modern Man« (2007) but cast through an ultra-modern lens, carrying with it the experience and driven purpose of a band secure in their identity and their legacy. Without sacrificing the creative leaps of what many feared would be their final album, »Day Of Mourning« (2009), Despised Icon renew their focus on the collision of dual vocals, technical wizardry, precision dexterity and massive bottom end they helped to pioneer.

‘The Aftermath’ kicks off the album with brutal immediacy, encompassing the full scope of what’s ahead with unrelenting attack and classic death metal flair. ‘Inner Demons’ will have guitar teachers and drum instructors pulling their hair out in frustrated angst, while songs like ‘Bad Vibes’ put the impossible sounding shred workouts on the backburner in favor of brute force. Throughout the album, deep grooves reminiscent of the best of Obituary, Dying Fetus, Internal Bleeding, or even Biohazard pulse within the fierce aggression. There’s a melody to be found in songs like the French-language ‘Drapeau Noir.’ The dual vocal style Despised Icon fans love is as unrestrained as ever.

For many extreme music fans, it may be hard to remember a time before Despised Icon, given the massive influence they’ve subsequently had on the genre. But when the group formed back in 2002 and released »Consumed By Your Poison« the same year, there was almost no intersection between the sounds of classic death metal and the brute force of hardcore. The “metalcore” genre had been in full swing for some time and plenty of those bands had experimented with elements of death metal. But Despised Icon was among the first to fully embrace the signatures of the traditional death metal formula combined with a relentless embrace of breakdowns, part of an emerging new sound.

Despised Icon steadily built a following through hard touring with Cryptopsy, Suffocation, Immolation, Deicide, Morbid Angel, Behemoth, Hatebreed, and Napalm Death. The diversity of sounds demonstrated by that list of bands is evidence of Despised Icon’s broad appeal. Before too long, a new subgenre bubbled up from the underground, built around bands like Despised Icon, Suicide Silence, All Shall Perish, Carniflex and Job For A Cowboy. Like many genre tags, “deathcore” became something of a controversial and uncomfortable albatross for many of the associated bands at various times. But the impact of what is unquestionably an exciting variation of extreme music is undeniable.

Despised Icon now boldly reclaim their legacy without reservation or apology. Since the time of the band’s dissolution – the result of professional burnout, the shifting priorities, and responsibilities that come with adulthood and the need for a creative recharge – the group’s members were able to explore different textures with groups like Obey The Brave and Heaven’s Cry. The time apart has only strengthened their resolve when it comes to the purity of what Despised Icon means to them as well as to their worldwide fans.

From the savagely unhinged vocals to the inexhaustible pound of the blast beats, Despised Icon’s new album is a swift reminder that this band is one of the originators of a powerful movement in extreme metal. The »Beast« is reawakened and ready to rumble. Despised Icon is back, ladies and gents, with no frills, no bullshit, and just total power.

Strains [Metal / Hardcore] [Belgium]

Established in 2014, Strains brings up a particular and powerful mix of progressive metalcore and hardcore. The studio works so far are Infinite (2014), Redefine(d) (2015), Denial (2017), Legacy (2018), Dead Weight (2019) and Alive single recently released on the 16th of October

Dead Label [Groove Metal] [Ireland]

The band, which was established in 2008 in Celbridge (Ireland) chose the name Dead Label as a sign of disapproval over the widespread custom of framing each band in genres and subgenres, labeled as belonging to certain metal typologies. Founded by three members who had previously played together in another group called VX, Dead Label compositions were influenced by Machine Head, Pantera, Caliban or Slipknot.

With a sound that masterfully combines elements of thrash metal, death metal, hardcore metal, and groove metal, Dead Label have managed to be noted on the international music scene after the release of their debut album, “Throne of Bones”. Thus, the band has toured North America, UK, Europe mainland and Japan with well-known names such as Machine Head, Fear Factory, Gojira or DevilDriver and performed some of the well-known festivals like Download Festival UK, Bloodstock Open Air, Hammerfest or MetalDays Festival.

Following the release in 2017 of “Pure Chaos” single and video which soon gathered more than 110,000 views, the band began to attract even more interest from specialized press and production houses, reaching the cover of Metal Hammer magazine (March 2018 edition) and being included in the TV campaign promoting Bloodstock Open Air in the same year. And the musical creativity and popularity of Dead Label continued to grow even in 2019, the new singles “False Messiah”, “Triggered” and much more recently “Dystopian Complex” managed to attract the appreciation of fans of heavy styles around the world.

Katla [Post-Rock] [Iceland]

This duo named after one of Iceland’s biggest active volcanoes is the result of musical cooperation between Einar Thorberg Guðmundsson (multi-instrumentalist and vocal) and Guðmundur Óli Pálmason (visual artist and former drummer of Sólstafir), a collaboration that started at the end of 2015 in Reykjavík. Einar and Guðmundur had known each other for decades and worked together on several other projects, including Potentiam, a black metal band that became a cult project in the Icelandic underground scene.

In January 2016, Katla. released the first song from the EP entitled “Ferðalok 7”. And just a year away, the duo released their debut album, “Móðurástin”, under the well-known German label Prophecy Productions, a material received with enthusiasm by both specialty critics and fans.

Katla quickly came to the public’s attention and gained its appreciation due to its strong compositions, with atmospheric and melancholy notes which masterfully combine complex riffs, with deeply penetrated sounds of dark influences, which hypnotize the listener. The lyrics of the songs tell the story of those living in a country of contrasts, a territory in which fire and ice coexist, and winters full of darkness are filled by summers with the sun in the middle of the night. All the powerful and contradictory experiences of the people in the country of contrasts are intensely expressed on a lyrical and sonic level in the Icelandic duo’s songs prepared, like the eponymous volcano, to erupt in each of the live shows, introducing the audience into a trance woven by sounds, atmospheric and deeply dark.

Bethlehem [Dark Metal] [Germany]

Bethlehem, one of the most popular bands of black/doom metal, appeared in the music industry in 1991, in Grevenbroich (Germany), being founded by Jürgen Bartsch and Klaus Matton, who had collaborated in Morbid Vision, a thrash metal band.

They debuted in 1994 with “Dark Metal”, followed by “Dictius Te Necare” (Latin title translated by “You must kill yourself”), in whose songs Rainer Landfermann (known as a bass player in the German death metal band Pavor). The album attracted the attention of specialized critics both due to the compositions and to Landfermann, whose voice was described as “one of the most disturbing and extreme voices that you can hear from a human being”.

Bethlehem is considered pioneers of a style described as “depressive black metal” or “suicidal black metal,” but over the years, the style of the group has evolved, leaving behind the influences of black and doom metal from the beginning in favor of German hardness, sometimes complemented by electro elements.

The band’s fame continued to grow from year to year, so in 1998 they wrote the soundtrack of an American underground movie, “Gummo”, for which the songs “Schuld Uns’res Knöcherigen Faltpferds” and “Verschleierte Irreligiösität” were released. Over time, creative fever has helped the band bring to the market not less than about 17 records (albums, EPs and splits) written over the course of nearly 30 years of career, the last one, “Lebe dich leer”, being launched this year.

ada [Melodic Black Metal] [USA]

Uada, which translates into “haunted” in Latin, is a project inspired by the spirit of the black metal wave of the early 1990s. Founded in 2014 in Portland, Oregon (US), the band attracted attention through its unique musical approach capable of combining the original hardness of black metal with a wide range of influences. So, they began to be quickly noticed and appreciated by well-known artists, such as John Haughm from Agalloch, for whom “Uada is one of the most interesting and exciting young bands coming out of Portland today.”

After just one year after establishment, the group debuted live at the Famine Fest II concert alongside names like Terrorizer, Engorged, Nekrofilth, Drawn & Quartered or Cemetery Lust, with Uada becoming one of the festival’s revelations. Northwestern Black Circle Festival was next to where the band shared the stage with artists such as Inquisition, Demoncy, Weregoat or Slutvomit and many other appearances at high profile musical events.

After extending its experience of live appearances, two years after its debut, Uada released, through its own efforts, the first album called “Devoid of Light”. Two years later, “Cult of a Dying Sun” was well received by the public, and characterized as “a mix of tones similar to those of Agalloch over which much darkness is poured, a strong dose of death is spread and you will obtain an impressive compound called Uada “.

Shadow Of Intent [Symphonic Deathcore] [USA]

Having Ben Duerr as a vocalist, one of the most „inhuman” voices of the present metal scene, Shadow Of Intent is without question top deathcore bands of our times. The mastermind behind is Chris Wiseman, most famous for playing guitar and writing songs for the prog-metalcore band, Currents. However, his creative part in Shadow Of Intent cannot be overseen and may look for some more creative and interesting.

Shadow Of Intent was formed in 2014 as an internet-based project of two: Ben and Chris, soon after their first EP being launched: „Inferi Sententia”.

More songs were released in 2015 and „Primordial” (2016) album followed immediately, attracting audience attention. „Reclaimer” was next, in 2017, independently produces (like all their releases), with 1300 sold units in the first week and millions of streams online.

If we refer to „Melancholy” (2019), Anthony Barone’s (Aegaeon, A Night In Texas) presence behind the drum kit was essential, his own percussion style matching with the album’s genre perfectly.

„Melancholy” is one of the rare deathcore records that’ll have a lasting impact. This record is a real showcase for Shadow Of Intent to tastefully display their insane technical talent whilst remaining well written and easily digestible. This record is riddled with memorable vocal passages, great riffs, and hectic drum fills that are bound to pull you back in for another hellish deep-dive, all with some killer symphonic backing elements. You wouldn’t necessarily expect a band of this caliber to release such quality extreme music completely independent; their hard work and determination are clearly evident, and off the back of a demented deathcore record such as this, they deserve all of the success that comes their way. Shadow of Intent is undeniably at their very best with their current line-up, and they are not showing any signs of slowing down or relenting any time soon. I swear, death metal just keeps getting better and better every damn year” as killyourstereo.com says.

October Tide [Doom | Death Metal] [Sweden]

Established in 1995 in Sweden, October Tide was born as a personal death/doom metal project of former Katatonia members – vocalist Jonas Renkse and guitarist Fred Norrman. Just two years after its inception, the band released “Rain Without End” (1997) and “Gray Dawn” (1999), two great records which later on became true cult albums. Despite its success, the band took a break for seven years, reuniting in 2009, after Norrman’s departure from Katatonia, when he returned with new material, “A Thin Shell”, with vocals by Tobias Netzell (from In Mourning).

The reunion was a good omen, so in 2013 October Tide released two new studio albums “Tunnel Of No Light” (2013) and “Winged Waltz” (2016), both animated by a sensitive approach of death metal and complex guitar lines.

Being always at the center of the Swedish melodic death metal scene, October Tide were constantly impressed with the energy brought to the stage and with the emotion and depth, dominated by complex guitar riffs.

Tableau Mort [Black Metal] [Great Britain]

The band was founded in 2017 in the British underground scene, being set up by musicians of Romanian origin, known for their activity in bands such as Sin, Indian Fall or Havoc (IT). Tableau Mort brings a unique approach to the black metal area, combining the strength and darkness of this musical genre, with the specific tones of the orthodox one, complemented by screams and intense vocal passages meant to deepen the macabre bases of the songs.

The first tracks released by the band, “Impending Corruption” and “Fall Of Man” (the last one appearing on the American compilation “Heretic”), reveal a complex musical fabric, which includes numerous levels and influences of metal subgenres, brought together to give birth to ambient vibrations, full of emotion, melancholy and darkness. The debut record is entitled “Veil Of Stigma” and it was well-received.

Metal Archives, for example, sais that “Tableau Mort enriches the underground landscape with an album that is both true to the pure black metal spirit but also develops the directions opened by its predecessors. The mystery emanating from the sound of the album makes you bow in front of the wonderful result that this record has been able to bring to light in this musical niche, uniting in a unique way old and new influences and completing a new approach of an already much-debated esoteric concept ”.

While Metal Crypt emphasizes the atmosphere induced by the new album: “you get a strong dose of melodic death metal, full of chaotic rage perfectly complemented by a charged atmosphere, full of energy, songs marked by profound emotions and meditative or lyrical lyrics. plunges into the darkness of depression. ”

The surge of positive reviews soon brought the first opportunities of live shows, such as those in Nambucca or The Unicorn Camden, and festivals such as Deadsoul Festival, Legions ov Darkness Festival or Eradication Festival.

Psykup [Experimental Progressive Metal] [France]

In its more than 20 years of career, Psykup earned the reputation of being a mythical entity of the alternative/prog/experimental rock landscape, renowned with help of 4 records, an acoustic EP and two DVDs that include live concerts, currently working for the fifth studio record.

Established in Toulouse (France), the band initially wrote songs that combined influences from Primus, Pantera, Strapping Young Lad or Alice In Chains, until finding their own musical vision, in fact, in their debut album, ” The Time of Reflection”, released seven years after its founding. The record which was like an official entry into the French music world was well received by both the public and the critics, helping the band to be noticed on a stage dominated at that time by names like Gojira or Sleepers.

The reason? Due to the creative, experimental approach to music, which treats the sound composition in a manner closer to the cinema, than to the classical musical approach, in a manner similar to that of John Zorn. That is, in a way in which the musical composition is divided into several individual stories, which are then arranged in a certain order.

Both due to the new way of approaching their works and looking to experiment without fear and without limits, Psykup is a musical project that is difficult to define or to fit in a certain style, always oscillating with their unique approach to metal, between the experimental and the frontiers of avant-garde music.

Necrophobic [Blackened Death Metal] [Sweden]

It is said that the band took its name from a song by Slayer found on the “Reign of Blood” (1986) record. The band was founded by Joakim Sterner and David Parland out of a desire to give birth to an even darker kind of death metal than it was at that time. And the sharp results, with ferocious acoustic or lyrical insertions, came quickly into the light, being dominated by topics related to Satanism, death or anti-Christian themes.

The debut album, “The Nocturnal Silence”, appeared in 1993, followed by “Spawned by Evil” in 1996 and “Darkside” only a year away. Inspiration continued to animate the band, so that only two years later, Necrophobic came up with a new record, “The Third Antichrist” (1999) under Black Mark Production label. Changing the record label afterward offered the opportunity to release another album “Bloodhymns” (2002), followed by a new one, “Hrimthursum” (2006), released under Regain Records / Candlelight USA, same label under which Necrophobic will also release the record that will win the title of “Album of the Month” by Metallian.com: “Death to All” (2009).

And news did not stop, Necrophobic being animated by a continuous creative force that brought to light records such as “Womb of Lilithu”, “Pesta” or “Mark of the Necrogram” (2018), the last one being defined by the band as more than an album but as the supreme darkness that plunges all wars into violence, as a virulent manifestation of musical strength on all fronts.

According to the band members themselves, “the new album makes us feel that we are a band 100% dedicated to what we write. That we are 100% “metal people” who are fully involved in giving the people in front of the stage an intense experience, an incisive and dark sound, something much more than well-sung music. ”

Heaven Shall Burn [Melodic Death Metal] [Germany]

The story of Heaven Shall Burn, a band that influenced the international extreme metal scene for 24 years now, was started by guitarist Maik Weichert and Matthias Voigt (drums), in 1996, under the name of Consense. A good name at start considering that the project came from the common passion of these young people for metal, hardcore and punk and from the desire to speak up about common opinions, both at the political level and at of social criticism.

The band’s name was then changed into Heaven Shall Burn this being taken after that of a well-known Marduk album (“Heaven Shall Burn … When We Are Gathered”), and the explosive energy, virulence of compositions and messages transmitted to them. After the release of the first two albums, the band on the stage of well-known festivals, such as Party.San, With Full Force or Wacken Open Air Festival, touring Europe.

2004 also brought a charity project, Heaven Shall Burn to release a split single with Napalm Death and The Haunted, “Tsunami Benefit”, sold in a limited edition of 1,000 copies to raise funds for the Indian Ocean tsunami victims. In 2005, the band brought to light a new material, a split album entitled “The Split Program II”, followed in the same year by the “Hell on Earth Tour” tour and in 2006 a new album “Deaf to Our Prayers”, which it reached the top of the German charts, recorded the best sales in the band’s history up to that time and provided them with new festivals performances, such as Summer Breeze Open Air.

2008 brought a new success, “Iconoclast (Part One: The Final Resistance)” being enthusiastically received by fans and critics, reaching the top 21 of the German charts and being followed by a European and North American tour, with Embrace the End and The Ghost Inside. The next year came with “Bildersturm – Iconoclast II (The Visual Resistance)”, while 2010 brought to light the third part of the trilogy, “Invictus (Iconoclast III),” which entered the Top 10 best German records and was followed by a new tour.

From album to album and from tour to tour, Heaven Shall Burn have contributed over 13 records to their international musical legacy, most recently, a double album entitled “Of Truth and Sacrifice”, scheduled for March of this year. Being thought of as two complementary halves (first part, “Of Truth”, second part, “Of Sacrifice”), the album is the result of a four-year journey in which the band withdrew from the standard routine of composing new materials to find the virulence, the strength, the hopes and the things that the band members believe and materialize them in 19 pieces that will fascinate the audience during a 97-minute adventure, intense, profound and full of insights.

The central idea of the album is what we all face in today’s society: the problem and complexity of truth in the “fake news” era and the burden of personal sacrifice often assumed to be a struggle for truth. According to Weichert: “The album is a very personal one for Heaven Shall Burn. It is more emotional, more aggressive and written with more passion and determination, being equally comprised of melancholy or relaxation at times. In this album, we tried to be a musical variant of Theatrum Mundi, showing and combining all the influences that guide us as a band. Both at the musical level and at the lyric level, this material came to life in a very natural way for us, the hypocrisy of truth from the modern era spread through social media or by the leaders of the free world, is often difficult to swallow by anyone of us. And the fact that society, as we know it, is regressing morally is even harder to bear. ”

The event is finished.


30 Jul 2020 - 02 Aug 2020


08:00 - 17:00

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Rockstadt Extreme Fest


Rockstadt Extreme Fest
Rockstadt Extreme Fest, Râșnov, Romania
Rockstadt Extreme Fest


Rockstadt Extreme Fest


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