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Six years have passed since Aether, and during that time Ágnes Tóth and Mihály Szabó have clearly developed not only new songs, but new ideas as well. Seed of the Formless is The Moon and the Nightspirit’s eighth full-length album and marks their most decisive move towards atmospheric post-metal to date. This change, however, does […]

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Ten Bands to Watch at Arctangent Festival 2026

Words: Matt Noble
Photos: Tim Finch

We are well into summer festival season, and the UK’s flagship event for the slightly weird and whacky side of heavy music has to be Arctangent Festival. Offering four nights of live music, silent discos, Bunny Chow and an unbelievably lovely community, I am already getting my list of must-watch artists ready for what will be the festival’s final instalment at Fernhill Farm, its longtime home. Arctangent offers plenty of big, if niche, names near the top of its bill, but one of my favourite things to do is to walk around the festival arena over the course of the day and watch an artist I’ve never heard of, playing a style of music I don’t listen to at home, and leave the tent as a fan. Here are ten of my favourites that I’ll be nailed on to watch. Perhaps there’s a new name in here for you.

ALCEST – Thursday

After a blinder of a performance at Arctangent 2022, the post-black metal troupe are back for more this August. 2024’s wonderful Les Chants de l’Aurore proved that there’s still plenty of life and vigour in the band, whose soundscapes have sent thousands of listeners far off into another realm, somewhere dreamlike, somewhere beautiful. Plenty of bands blend the sound of the darkness with that of the sublime, but few really connect the dots between emotive, ethereal and – at times – crushing sonic weight the way Alcest do. Of the bands on the bill to stand around and pensively stroke your chin to, Alcest are amongst the must-sees.

CONJURER – Friday

Arctangent Festival mainstays Conjurer are back for their first appearance at Fernhill Farm since the release of Unself, a deeply personal and creatively mature offering that breathed new life into the band’s musical output as they looked within. But it’s easy to take for granted just how consistently great their live shows are. From Conor’s iconic presence whipping his hair about at stage centre, to the sheer brutality of the heavier runs, to the atmosphere and emotion when they bring everything down, to how tight, precise and polished they are on a technical level, Conjurer gigs do not underwhelm. Could they eventually headline festivals like this?

CULT OF LUNA/JULIE CHRISTMAS – Saturday

In a UK exclusive performance for 2026, Cult of Luna and Julie Christmas will be celebrating the tenth anniversary of their acclaimed collaboration, Mariner, by playing the album in full. This is a serious coup for Arctangent, on what will be the final mainstage performance at Fernhill Farm. Julie has already promised an experience, rather than just a performance. In any case, any self-respecting muso won’t want to miss a second of this live rarity. Both have played the festival in recent years, doing their own sets, but Arctangent always strives to offer something a little different, including giving a stage to collaborations like these. Now’s a good time to remind ourselves just how special the atmospheric demolition of a record Mariner truly was.

IGORRR – Thursday

Another artist that completely fits the bill for Arctangent, and in a way, Arctangent completely suits his vibe as well. You won’t find a blend of Gautier Serre’s influences in one place anywhere else but under Igorrr, and that’s a promise. Most reading this article will know who Igorrr is by now, but it can be easy to forget just what a spectacle the live shows are, and how much insane creative genius lies in the music. If the musical draw for Arctangent is to see something different from other events, you can’t miss Igorrr. If the entertainment factor is to be blown away by a live performance, you can’t miss Igorrr. If you go every year for the friendly community, everyone will be making sure they aren’t missing Igorrr. 

MEATDRIPPER – Saturday

The buzz around Birmingham’s psych/sludge witch coven Meatdripper is something in itself. They’ve shot up, seemingly out of nowhere, to grace stages in the UK and abroad that have included Bearded Theory, Desertfest London and Obsidian Dust. But the proof is in their enchanting live shows and whimsical approach to the genre, which at times can feel oversaturated with copycats worshipping the same gods. That really can’t be said of this band. So if the power of the riff compels you, but you’re after something a little different, you could do far worse than to see what sort of noise these four women have to conjure up for us all this year.

HIGH ON FIRE – Saturday

Matt Pike might not have been on the new Sleep song, but he’ll be tearing it up at Arctangent in a few weeks, likely without a shirt on. The Grammy-winning sludge/thrashers, now with Ben Koller of Converge fame on the drum throne, promise sonic annihilation and a set that’ll probably showcase the best of 2024’s Cometh the Storm along with some classic ragers that have built them to the name they are today. The word ‘legend’ is tossed around a lot, but I feel it’s safe to apply it here. This one could be a set talked about for years to come…

PERTURBATOR – Friday

Going into my maiden Arctangent in 2022, I had no idea what to expect going into the main stage for Perturbator’s set. Four years on, I’ll be going back ready and fully prepared for James Kent’s apocalyptic goth rave, promising a crazy light show and undeniable, non-stop fun. There are plenty of artists on this bill to stand around to, or lose yourself within to, or feel the full emotional spectrum to, or simply be crushed by. And this is exactly why Perturbator needs to be on your watchlist. When you need a breather from the typical Arctangent fare at a multi-day festival, this is the place to be.

PRIMUS – Friday

I mean, this is the big one, isn’t it? They’ve always been in the conversation of ‘who’d be a good Arctangent headliner next year’ and finally, we’ve got them lined up for their first UK show in nine years. A band that needs no introduction, their weird experimentalism, groove, and instrumental wizardry has given them a one-of-a-kind place in the annals of music history. Whether you discovered them through South Park, or because you play bass, or because you see yourself as a musical connoisseur, this is a bucket list gig to go and see, and then brag about. I expect the main stage tent to be packed past capacity. Whether you know one, ten, or all of their songs, surely you don’t duck out on the chance to see Les Claypool doing his thing.

SVALBARD – Wednesday

Svalbard will play what appears to be their final scheduled show just short of 14 miles outside of their home city of Bristol on the Wednesday evening at Arctangent. Let this celebrate a decade and a half of one of the country’s brightest lights advocating for mental health, and creating unashamedly unique music that draws from black metal, hardcore and post-rock, to name just a few. They leave an enviable legacy of four albums, each with their own character, that have connected with many in the UK metal underground. This could be the last time. Worth going to the festival a day early for.

SWAMP COFFIN – Wednesday

Swamp Coffin – affectionately known as Swamperz to some – celebrate a decade of nihilistic sludge metal this summer. Returning to Arctangent after 2025’s biblical ‘world’s slowest wall of death’ made (glacial) waves around the festival, they’ve already promised a bigger, slower, and even more ridiculous wall for this time round. Silliness aside, 2024’s glorious Drowning Glory saw them begin to break out of underground circles and build momentum for something even greater. A sludgy suckerpunch of a record that translates fantastically live, at this stage in the album’s lifespan you wonder what they might have up their sleeves for the next chapter. We slow again.

Photo credits: Tim Finch Photography

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post ArcTanGent: Festival Preview appeared first on The Razor's Edge.

If there’s one thing we can all agree on, it’s that Supraliminal, the 2023 album from death metal act Nothingness, is worthy of a 2.5 and no other rating. I know of no faction that holds it in higher esteem, am aware of no lack of consensus surrounding Felagund’s review–Oh wait just a second. I reviewed the tomes and scrolls, and it seems there was a shitstorm surrounding these guys. The comment section went to war on behalf of this Minnesota sextet’s brand of A24 OSDM.¹ Steel Druhm juuuuust managed to put down a revolution, but the bonfire roared anew when Kenstrosity named Supraliminal his Record o’the Year. In the years since, a fragile peace has held… until now. Nothingness is back with their hard-charging third album Godslaughter, threatening the status quo and giving us the chance to pick old scabs and answer lingering questions. The most urgent of these: who was right?

Godslaughter is a vile piece of work, even meaner and more antisocial than its predecessor. Nothingness hasn’t abandoned the ambition that led Kenstrosity to describe their style as “caveman death with a university degree.” The band still brings some of the inventive brio of Gorguts or Nightmarer to a ferocious overall vibe that recalls a less theatrical Autopsy. This latest offering manages to double down on aggression while expanding Nothingness’s sonic palette and the range of their songwriting. If you can survive the onslaught of an opening run that includes the platter’s first two singles (“Skull Evulsion,” “Trenchant Glunch”), these grander designs reveal themselves. The album as a whole is an exhilarating run through nine well-sequenced tracks, seasoned with a flair for composition that makes the verdict clear: Godslaughter is a roaring return and a death metal ripper.

Godslaughter unfolds in three acts. The first commences with the sucker punch that is “Incinerated Immediately,” then proceeds through three additional tracks that lay you flat and kick you around for a while. “Vanquishing Providence” slows things to a crawl to “welcome” you to a middle section that’s built around longer and more varied songs. It’s here that you’ll find the slab’s most ambitious compositions, a pair of seven minute epics that go from first to fifth gear with no thought spared for the health of your spine. Nothingness throws in everything they’ve got and a few new tricks to boot, up to and including the bonging Black Sabbath bell that punctuates “Divine Irresponsibility.” A spoken word sample kicks off “Incredible Violence” and ushers you into the third act of the album. Sonic experimentation worms its way into these three selections, which essentially split the difference between parts one and two of the slab.

The album organizes itself into distinct segments, but Godslaughter’s forty-minute entirety remains a cohesive listen. The songs are united by a harsh but thoughtful production. Alex Walstad’s guitars flirt with peaking on tracks like “Incinerated Immediately” and “Umbral Spear,” but it all feels intentional. While there’s no credited producer, returning engineer Adam Tucker knows when to give space and clarity to a riff and when to noisemaxx. Barclay Olson, who is the vocalist for a death metal outfit and not the CFO of a private equity fund, lacks some variety in his attack. His roars do threaten to get repetitive, but the intensity of the music and the concise run time keep things at a rolling boil.

It’s a delicate alchemy, trying to combine familiar influences and elements into something that feels novel. Nothingness has pulled it off for two albums running. With Supraliminal and now Godslaughter, these merchants of digressive death submit a pair of long players to get your neurons firing even as they power wash your central nervous system. Like its predecessor, Godslaughter leaves a rancid mouthfeel behind as it rants its way toward Listurnalia. I’ll probably return to Supraliminal more than I do Godslaughter, so I won’t quibble if you want to ding the new slab by half a point. But all in all, Godslaughter is about as good as their last one.²

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Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Websites: nothingness.bandcamp.com|nothingnessisdeath.com
Releases Worldwide: July 31, 2026

The post Nothingness – Godslaughter Review appeared first on Angry Metal Guy.

A few weeks back, Brooklyn’s Bazooka Fest announced their very cool 2026 lineup topped by scrappy Ohio indie favorites Cloud Nothings and the reunited Times New Viking. Today, that lineup has been expanded.

The post Bazooka Fest 2026 Unveils Full Lineup With Destroyer, Stephin Merritt, & More appeared first on Stereogum.

System Of A Down have announced a four-date stadium tour of Australia and New Zealand for early 2027 — and they’re bringing Faith No More with them, marking the legendary San Francisco band’s first live shows anywhere on the planet since August 2016. The run kicks off January 22 at Sydney’s Accor Stadium and wraps February 7 in Wellington, with tickets going on sale Friday, July 31.

STREAM THE METAL BREAKDOWN DAILY NOW:

Scott Penfold breaks down the biggest tour announcement of the year on today’s Metal Breakdown Daily — how Faith No More went from never playing again to stadiums with System Of A Down, and why this run was hiding in plain sight for weeks. Download the free Loaded Radio App on Apple iOS and Google Play and take the show with you.

The Dates

Here’s the full run:

January 22 — Accor Stadium, Sydney, NSW January 27 — Marvel Stadium, Melbourne, VIC February 1 — Suncorp Stadium, Brisbane, QLD February 7 — Hnry Stadium, Wellington, NZ

Ticket info, because these will move fast: the artist presale for fans on both bands’ mailing lists opens Tuesday, July 28. A PayPal First Access presale follows Wednesday, July 29 — you’ll need a PayPal account to buy. General on-sale hits Friday, July 31 at 10 a.m. in Sydney, 11 a.m. in Melbourne and Wellington, and noon in Brisbane, all local time.

Get your tickets at this location.

And yes — these are stadiums. Not arenas, not festivals. Two bands who barely play at all anymore, booked into buildings that hold rugby finals.

Faith No More: From Never Again To Stadiums

Let’s be honest about how unlikely this is. Faith No More last walked on a stage in August 2016. The comeback everyone wanted got announced for 2020, moved to 2021, and then Mike Patton pulled the plug on everything, citing mental health struggles that the pandemic made worse. The metal world rallied around him — his own bandmates and Mr. Bungle brothers included — but the years that followed got bleak for anyone holding out hope. Drummer Mike Bordin said Patton had gone from being unable to play the shows to being unwilling. Roddy Bottum flat out said he didn’t see it ever happening again.

Then came June 16 of this year: a cryptic social post with the band’s logo over a crowd and one word — 2027. Bassist Bill Gould confirmed it days later on the Rock Talk podcast: “Yeah, we’re gonna do it. We’re gonna play.” Behind the scenes, the band had signed a global deal with Brazilian live entertainment giant 30e to build out world touring plans. Now we know what the first move looks like — and it’s Patton and company walking straight back into stadiums after a decade away. No warm-up club run. No festival slot buried mid-bill. Stadiums.

Recommended – Every System Of A Down Album Ranked—Fans Still Argue About #1

System Of A Down’s Long-Overdue Return Down Under

Don’t let the support billing fool you into thinking this is only a Faith No More story, though. These are System Of A Down’s first shows in Australia in over a decade — they haven’t played down under since Soundwave 2012, back when Serj, Daron, Shavo and John were still fresh off their reunion. Australian fans have watched SOAD sell out South American and European stadiums for years while getting nothing but rumors.

And the wild part remains the same as it ever was: the band keeps filling stadiums worldwide off a catalog that essentially ends in 2005, plus the two 2020 singles they dropped for Armenia. Twenty-plus years without a new album and the demand only grows. If you need a refresher on why, we ranked every System Of A Down album — spoiler: there isn’t a dud in the catalog.

Serj Tankian screaming “Chop Suey!” while Mike Patton prowls a stadium stage for the first time since 2016, on the same night, in the same building. If you’d pitched that lineup a year ago, people would’ve laughed at you.

TL;DR

• System Of A Down and Faith No More play four stadium shows in early 2027: Sydney (Jan 22), Melbourne (Jan 27), Brisbane (Feb 1) and Wellington (Feb 7).
• These are Faith No More’s first concerts since August 2016 — their planned 2020/2021 comeback was cancelled over Mike Patton’s mental health struggles.
• They’re also System Of A Down’s first shows in Australia and New Zealand since Soundwave 2012.
• Presales run July 28 (artist) and July 29 (PayPal First Access); general on-sale is Friday, July 31 at 10 a.m. Sydney, 11 a.m. Melbourne/Wellington, noon Brisbane, local time.
• Faith No More’s return follows their June “2027” teaser, Bill Gould’s confirmation the band would play again, and a new global touring deal with live entertainment company 30e.

FAQ

Rock fans, the drought is over — are you making the trip for one of these shows, and which band are you really buying the ticket for? Drop your answer in the comments, and follow Loaded Radio for daily rock and metal news.

The post System Of A Down Announce 2027 Stadium Tour Of Australia And New Zealand — With Faith No More Playing Their First Shows In More Than A Decade appeared first on Loaded Radio.

For many years, Florida rap great Denzel Curry has been messing around in the hardcore world. When the teenage Curry first emerged as part of the underground Raider Klan crew, they helped introduce choatic moshpit energy to the rap world. In 2019, Curry covered Rage Against The Machine for Triple J and enlisted Fucked Up for a Bad Brains cover. Curry is a regular presence at festivals like Outbreak. He teamed up with Knocked Loose for the extremely sick collab “Hive Mind” earlier this year, and he’ll head out on tour with that band this fall. Now, he says he’s “flirting with the idea of creating a hardcore tape.”

The post Denzel Curry Joins Pain Of Truth Shows, May Pivot To Hardcore appeared first on Stereogum.

Joni Mitchell’s journey began in Fort Macleod, Alberta, where she was born, and continued in Saskatchewan, where she spent most of her formative years. Her childhood battle with polio at the age of nine cultivated a resilience that would echo throughout her lyrics and musical ethos. This early challenge informed much of her later introspective work, manifesting in themes of perseverance and self-discovery that resonated deeply with audiences. Mitchell’s artistic instincts first blossomed through painting, an interest she nurtured before music became her primary expression. This visual artistry eventually intertwined beautifully with her musical compositions, evident not just in the

The post Complete List Of Joni Mitchell Songs From A to Z appeared first on ClassicRockHistory.com.

Album Review: Anatomy of Habit – Paired Sentinels

Reviewed by Matthew Williams

There’s always a part of me that smiles when I hear a drum beat start off a song, even more so when it’s joined by a bellowing bassline. It’s a simple, uncomplicated process that sets the standard for what is about to follow, and drummer Skylar Rowe and bassist Sam Wagster do a splendid job on opening track “Always Arriving”. The song develops further, with the guitars and vocals spiralling over the hypnotic rhythm as the band invite you into their sphere.

“Paired Sentinels” is the fifth album from Chicago’s Anatomy of Habit as they return with a winning combination of cross genre sounds including doom, noise, shoegaze and post punk. The first track has been described by vocalist Mark Solotroff as “a study of what we leave behind” and like being “caught between the weight of where we’ve been and the certainty of what’s coming”. It’s an interesting opener and leads into “Conditions For Freedom” which has further dynamic and atmospheric sounds layered over a shifting guitar presence and low-end bass.

You need to dig in on this one, as it over thirteen minutes long, but as with the other three songs, it explores “repetition, memory and identity… that shape longing and loss”. The droning adds a certain vulnerability and rawness to the composition that are exemplified by the openness of the vocals from Solotroff. There’s a dramatic shift in the middle section of the song, that makes you stop and think, as the music guides your mind to another world before it comes back to life.

The drums take the lead again on “The Importance of Risk” before the vocals pierce the stop start noise on the track. With the bass again being prominent, it allows for more experimental guitar work from Alex Latus, combined with a plethora of abrasive noises from metal percussionist Isidro Reyes. With all manner of different instruments being used, the repetitive nature of the music is there for all to hear, and it should be complimented as the band have evolved whilst sustaining their creative passion.

The final song, which bares the album title, gives off a strange, almost David Lynch feel to it, as the ambient sounds float around your head, as if you are having an out of body experience looking down upon Earth. Yet, about a quarter of the way in, the group erupt into a short fit of rage, before being scolded like a child and brought back to their sedentary pace. It’s a song full of mystery and intrigue as if it’s searching for something but maybe not fully understanding what it is searching for.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Album Review: Anatomy of Habit – Paired Sentinels appeared first on The Razor's Edge.

Queen fans will get the chance to revisit one of the band’s most historic performances when Queen Budapest arrives in cinemas and IMAX worldwide on October 7 through Trafalgar Releasing.

The release celebrates 40 years since Queen performed at Budapest’s Népstadion on July 27, 1986, during The Magic Tour. The concert marked the first time a Western stadium rock band played behind the Iron Curtain, making it one of the defining live events of the decade.

The film has been restored in 4K from the original 35mm negatives by Sir Peter Jackson’s Park Road Post Production facility in New Zealand. The audio has also been remixed from the original multitrack recordings, giving the performance its best presentation to date.

Around 80,000 fans packed the stadium for the show, while another estimated 45,000 gathered outside to listen. Concertgoers also traveled from countries including Russia and Poland to witness the event. The production itself was a major undertaking, with 17 Hungarian cameramen using 17 cameras and roughly 25 miles of film—reportedly all the film stock available in the country at the time. Approval from the Hungarian government made the filming another first for a Communist state.

Looking back, the Budapest performance gained even greater significance. Queen played only five more concerts after that night, wrapping up their touring career with Freddie Mercury at Knebworth Park in England on August 9, 1986.

As the final professionally filmed live performance featuring Freddie Mercury, Queen Budapest captures the band in peak form. The setlist includes classics such as “We Will Rock You,” “We Are The Champions,” “A Kind Of Magic,” “Crazy Little Thing Called Love,” “Under Pressure,” “Who Wants To Live Forever,” “Hammer To Fall” and “Bohemian Rhapsody.” The concert also features a performance of the Hungarian folk song “Tavaszi Szél Vizet Áraszt,” while newly restored footage from “Radio Ga Ga” highlights the work completed for this release.

The concert continued reaching audiences after the tour ended. An edited version aired throughout the Communist Bloc in December 1986, including broadcasts in China, Poland, Czechoslovakia, East Germany, Yugoslavia and Mongolia. It was also screened in 59 Hungarian cinemas on New Year’s Day 1987, another milestone for a Western rock act.

For guitarist Brian May and drummer Roger Taylor, the Budapest show remains one of the band’s most meaningful performances.

Brian May comments: “For years, fans behind the Iron Curtain had been able to listen to Queen music only on illegal cassettes. It was a forbidden thing to listen to rock bands like us, so to see them play in a live show would have been unthinkable. This concert, when they could finally come and see us live in person and interact with us, was a huge emotional moment for them and also for us. It felt like a very big deal — you could feel that incredible energy. There will never be an event quite like that again. Perhaps the most memorable highlight of all was performing that beautiful Hungarian folk song, which Freddie and I had learned for the occasion. Not a dry eye!”

Roger Taylor adds: “We did love to think that the music could transcend the politics, the political barriers, and that was sort of part of our ethos, to actually bring the audience into the show and make them feel part of the show. I know Freddie tried to learn this folk song, but he had the words written phonetically on the back of his hand. When the audience just started singing, we realized, wow, music really can be a great cause.”

Discussing the restoration, Brian May continues: “Peter Jackson‘s team has done a magnificent job of restoring the original film footage, at the highest resolution ever; it’s pristine and the quality is breathtaking. I think you’re going to love it. For the sound, we’ve been able to do some top-quality restoration work as well. Now, in IMAX and movie theatres, it’s going to be definitively the most real experience ever of us, Queen, in our glory days. I think people will get lost in it and even forget they’re watching a film.”

Tom Mackay, president of Sony Music Vision, said: “Queen Budapest represents a remarkable moment in both music and cultural history. The film not only documents an extraordinary performance, but also the connection between the band and an audience breaking through real barriers at the time. The restoration allows that moment to be experienced in a way that feels immediate and relevant for audiences today.”

Peter Jackson adds: “As long time fans of Queen we were thrilled when they asked Park Road Post to restore the Budapest concert footage. It has been a rare privilege to breathe new life into such an iconic moment in music history. We look forward to a whole new audience participating in the original band’s final live performance, captured on film. They will rock you!!!”

The restored film will make its world premiere at the Budapest Classics Film Marathon on September 15 before a U.K. premiere in London on September 30. The original negatives were digitized by Hungary’s National Film Institute FilmLab, while the film elements have been preserved by the NFI Film Archive since 1986.

Queen Budapest opens in cinemas and IMAX worldwide on October 7 for a limited engagement. A companion release follows on October 30 through Hollywood Records in North America and Legacy Recordings internationally. Alongside Blu-ray, DVD, CD and digital editions, the newly remixed soundtrack will also receive its first-ever release as a three-LP vinyl set.

Directed by János Zsombolyai, Queen Budapest serves as both a document of one of rock’s most important concerts and the final filmed record of Freddie Mercury leading Queen onstage.

More than five decades into their career, Queen remains one of rock’s biggest names. With worldwide album sales exceeding 300 million, enduring tracks including “Killer Queen,” “We Are The Champions,” “We Will Rock You,” “Another One Bites The Dust” and “Bohemian Rhapsody,” plus Greatest Hits standing as the U.K.’s best-selling album of all time, the band’s legacy continues to grow.

Their influence extends well beyond record sales. Landmark performances such as Live Aid and Wembley Stadium in 1986 helped define Queen as one of rock’s greatest live acts, while the 2018 film “Bohemian Rhapsody” introduced their story to another generation. Their music continues to inspire artists ranging from George Michael and Guns N’ Roses to Lady Gaga and the Foo Fighters.

Recognition from the Rock And Roll Hall Of Fame, the Brit Awards, the Grammy Awards and the Ivor Novello Awards reflects the band’s impact, but the lasting connection between Queen and their audience remains their strongest achievement. Thanks to Brian May and Roger Taylor, that legacy continues to reach new generations of rock and metal fans.

The post QUEEN’s “Queen Budapest” Concert Film Heads To IMAX & Cinemas Worldwide This October appeared first on Sonic Perspectives.

Pünktlich zum Start des 35. Wacken Open Air ist die neue Ausgabe des offiziellen Festival-Magazins The Bullhead da!

40 Seiten voll mit News rund ums W:O:A, Interviews mit Musikerinnen und Musikern, Hintergrundberichten und Acker-Geschichten. All das natürlich wieder zweisprachig und für die Leser kostenfrei.

In dieser Ausgabe… 
– schauen wir noch einmal zurück auf die Anfangsjahre und haben dazu mit den Gründern Holger Hübner und Thomas Jensen und ihrem Jugendkumpel Andreas „Gösy“ Schlüter gesprochen
– verrät Sepultura-Frontmann Derrick Green, wie schwer es der Band fällt, für immer Abschied zu nehmen
– erzählt Rob Halford von Judas Priest, was sein Geburtstag mit der Geburtsstunde des Wacken Open Air zu tun hat
– bittet Castle Rat-Frontfrau Riley Pinkerton die Fans um spezielle Konzert-Outfits
– gibt Nico Sallach von Electric Bassboy Einblicke in die Schaltzentrale des DJ-Zweitprojekts seiner Band Electric Callboy
– erfahrt ihr, wie ihr am Publikumsvoting für die Wacken Metal Battle teilnehmen könnt.

Also: Anklicken, durchblättern, reinlesen und Spaß haben!

HIER GEHT ES LANG!

 

Der Beitrag The Bullhead – Ausgabe Juli 2026 erschien zuerst auf Live, laut, legendär!.