Having witnessed their suffocating performance at Prague Death Mass and with a new LP on the way; it seemed a great time to talk to France’s Viande!

1. Greetings Viande! Please introduce yourselves! Also, what is the significance of the band name “meat” (in English). It’s quite unusual and yet in French it’s a very striking word.

The “meat” (and actually, the “flesh”) is what is corruptible and destined to the grave, it’s what remains of man once God has abandoned him.

2. You formed back in 2013 and released your first EP in 2015. What inspired the initial music and how was it recorded?

We wanted to create music with strong evocative power, something that would leave vivid mental images. The recording process of our first demo was carried out in a very rudimentary way, using our own means. Certain parts and arrangements were improvised, in fact this is a habit we have kept to this day.

3. 2017 saw the release of a second EP. Was the process the same for this one or did much change in the time between?

For our second demo, we pushed the writing process a bit further, and elements of noise music began to integrate our sound. The recording method remained the same and the result was more obscure. It’s quite an extreme recording in its own genre.

4. After 5 years we got a debut full length in 2022; “L’abime dévore les âmes”. This record sounds enormous. Were these years spent busily concocting the album or were other forces at play?

For “L’Abime ” we approached things differently. The main change was the addition of a drummer. It took us quite a while to find a musician who could truly commit to the band and this was followed by a period of transformation. As the band geometry evolved, we had to rethink the way we conceived our music. Where the drum machine had allowed us to do extremely radical things, we now had to adapt our songwriting to this new constraint while remaining faithful to our original vision. This period also conceded with our first live performances.

5. Can you elaborate on the creation of “L’abime dévore les âmes”. What went into the actual writing, production, mixing, artwork and everything? It’s a very unique and atmospheric listen with a strong evil presence. It would be great to hear the details on how you achieved this.

The composition of this record, although fairly long, was relatively straightforward. We alternated between rehearsals and more experimental sessions. It was during this period that we began to incorporate keyboards and developing the more atmospheric side of our music with Beherit’s “Drawing Down the Moon”  in mind, shifting the cursor from our initial maximalism to toward stranger territories. Drums and vocals were recorded in a studio, while we produced the rest by our own means. The album was mixed by Cédric Lerges at Studio La Forge with the formal instruction:”more darkness and menace”. Everything on this album is excessive. The sound is obese, the vocals are repulsive and the atmosphere nauseating. The artwork reflecting this soundscape of misery and morbidity is the work of our vocalist.

6. I saw you at Prague Death Mass and thoroughly enjoyed the show. Blending the full intensity of an underground black / death metal band with those noise elements, it felt very raw and spontaneous. What does playing live mean to you as a band and which shows are your favourite ones you have played?

Playing live is a way for us to test ourselves as musicians and to present the most chaotic side of Viande. PDM was great and sharing the stage with some of the people who shaped our music culture is alway rewarding . Nevertheless, the band I most enjoyed sharing the stage with was probably Sister Iodine, an institution of French noise rock. The concert in Liestal with Hadopelagyal is also an important memory. Probably the most chaotic gig we have ever played, people who were there that night could attest to that.

7. France, to me, has one of the best histories in heavy metal. From the classics such as Sortilège, ADX, High Power and so on, through to some of the most unique black and death metal bands. Do you feel a strong connection to the French music world and furthermore can you recommend any worthwhile underground bands to listen to?

The french scene I feel closest to is probably the Parisian scene of the early 2000’s, both for its music and its attitude. Bands like Antaeus and Arkhon Infaustus clearly redefined things at a time when black and death metal had lost their sacred fire.

8. Before we get onto the new LP, this is a simple question but often one that yields interesting answers. Which bands inspired the music of Viande?

To keep it short and stay within the scope of the interview, I would say:

-The early Autopsy for the repulsive aspect.
-Teitanblood for their ability to create highly visual and evocative music.
-The Cold Meat Industry school, with bands like Brighter Death now and Archon Satani for the industrial austerity.
-Swans or Burning witch for Swans for the more adventurous parts.

You will also find here and there details drawn directly from the Beherit’s “source”. I would also mention Voivod, not so much for the music itself, but for the fierce determination to create according to their own code.

9. Now we are up to speed, let’s get into your second full length album “Monument aux morts”. It shares a lot from the sound and visuals of its predecessor but has its own unique feel too. Can you explain the creation of the record. Any interesting stories from the writing and recording sessions?

This is where things become complicated…

The creation of this album was extremely complicated. First of all, it was very difficult to stabilise a line up. Our drummer at the time was going through a terrible period that forced him to leave the band and this episode marked the beginning of an endless batch of problems.

Psychiatric wards, intensive care, drunk brawls leading to serious health problems, accidents, recovery… Some of us paid a very heavy price. Not to mention the fragile musicians who fled before the monument of hostility that Viande has become. Eventually, we integrated O et I, two musicians from the Swiss Black metal scene. Things finally turn in our favour.

Within a few months, we completed the composition and recorded our second album. Seven days were needed, this time with Cyrille Gachet behind the soundboard for the recording and mixing. As usual when we record an album, we isolated ourselves in order to create the proper conditions for its elaboration, with the mantra: “maximum austerity”.

This album carries all the forces that were working against us, it is one more step into the darkness.

10. Thank you for the answers, last words are yours. Feel free to warn us of coming events or anything else you like!

By the time your zine comes out, “Monument aux morts” should be available. A split release should follow later in the year, presenting a more experimental side of Viande. Few  concerts are also planned for this autumn. Thanks for your attention, that’s all for now.

Ross Valory, the acclaimed original Journey bassist and songwriter, has confirmed August 21 as the release date for the refreshed and remastered version of his debut solo album All Of The Above (OID Music). Available for the first time on vinyl and CD, the updated release includes a new Valory instrumental track and video for “City Lights.”

This marks the first time All Of The Above, originally released digitally in 2024, will be available on vinyl and CD, and the new version will include a special Purple Swirl Color Vinyl with an autographed photo exclusively available via Experience Vinyl.

For “City Lights,” Valory (who played standup bass on the song) teamed with a talented group of master players: Eric Levy (Night Ranger, Garage Mahal); Steve Smith (Journey and Vital Information); Bobby Strickland (Todd Rundgren); Stevie “Keys” Roseman (longtime Valory collaborator); and Mic Gillette (Tower of Power Horns), who did all the horn arrangements and played trumpet and trombone, including a trombone solo. “Together, they bring a new level of sophistication to the track [a standout from Ross’ vast repertoire]”, he says. The visually arresting clip for the song is set against the backdrop of New York City, throughout different time periods, capturing the hauntingly seductive instrumental track.

“‘City Lights’ is really about people out and about in the city, possibly in the rain, looking for and finding romance,” Ross adds with a laugh. “It’s just the simple enjoyment of nightlife and romance…the adventure, the excitement, the spontaneity. Just being out on the town.”

“‘City Lights” [and the previously released] “Nightflower” are really sister songs,” Ross says. “They both have—in terms of the time period that they represent—the flavor of the big city at night, and in particular, Michael [Cotten, the video director] and my impressions of Manhattan. And while the two music videos have a different visual storyline, they’re both related to nighttime in the city.”

The clip marks another collaboration with Cotten who created videos for all the album’s tracks (“Touched, Pt. ll,” “Tomland,” “Wild Kingdom, “Windmill,” “Nightflower,” and Ross’ interpretation of War’s classic cruising anthem “Low Rider,” “Incident at Neshabur/Senor Blue,” “No One Wins a War.”

All Of The Above was produced by Rock & Roll Hall of Fame Inductee Valory and co-produced by Eric Levy and Jacob Stowe. The ten tracks on the album represent the full maturity of Valory‘s musical gifts, cutting a broad swath through the instrumental territory the music travels. He plays keyboards, guitar, and, of course, many basses in a display of cultivated virtuosity across a palette far broader than could be found in his work with Journey. He is stepping out from behind his bass and, for the first time in his more than half-century as a professional musician, representing his vision and his compositions.

Pre-order the special edition here and here to pre-save the standard vinyl and CD.

The post ROSS VALORY To Release For The First Time On Vinyl And CD, Remastered Version Of His Debut Solo Album “All Of The Above” appeared first on Sonic Perspectives.

Oscar Wilde and Baudelaire: Decadence, Beauty, and Moral Transgression

Few literary movements embraced beauty with as much intensity and danger as Decadence. Long before modern Gothic aesthetics transformed melancholy and moral ambiguity into artistic identity, Charles Baudelaire and Oscar Wilde were already challenging nineteenth-century ideas about morality, pleasure, corruption, desire, and the purpose of art itself.

Both writers became central figures within Decadent literature because they rejected the belief that art should function primarily as moral instruction. Instead, Wilde and Baudelaire treated beauty as something psychologically powerful, emotionally destabilizing, and often inseparable from transgression itself.

A cinematic Decadent-inspired artwork exploring the literary connection between Oscar Wilde, Charles Baudelaire, beauty, moral ambiguity, and Gothic aesthetics.

Their influence extended far beyond literature. Modern Gothic aesthetics, dark fashion, noir psychology, Symbolism, dark Romanticism, and even contemporary alternative culture still inherit many of the emotional and philosophical tensions first articulated through Decadent art.

To understand why their work remains culturally powerful, it becomes necessary to examine how Wilde and Baudelaire transformed beauty itself into a form of intellectual rebellion.

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Baudelaire and the Birth of Modern Decadence

When Charles Baudelaire published Les Fleurs du mal in 1857, the collection immediately scandalized French society. Several poems faced censorship charges because authorities considered them morally dangerous, erotic, and spiritually corrupting.

Baudelaire’s poetry deliberately explored subjects respectable nineteenth-century culture often attempted to suppress: urban alienation, erotic obsession, intoxication, decay, existential despair, artificial pleasure, death, and psychological fragmentation.

Rather than presenting beauty as purity or moral elevation, Baudelaire repeatedly located beauty inside corruption, grief, illness, loneliness, and emotional instability.

In poems such as Hymne à la Beauté, beauty itself becomes morally ambiguous:

“Do you come from heaven or from hell?”

That question became central to Decadent aesthetics. Baudelaire understood beauty not as comfort, but as emotional force capable of seduction, destruction, ecstasy, and psychological transformation simultaneously.

Modern Gothic culture still preserves this same emotional logic where darkness and elegance frequently coexist rather than oppose one another.

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Oscar Wilde and the Aesthetic Life

Oscar Wilde inherited many of Baudelaire’s artistic ideas while transforming them through wit, theatricality, aesthetic philosophy, and social performance.

Wilde became associated with the Aesthetic Movement and Decadence partly because he rejected Victorian moral seriousness in favor of artistic experience itself. His famous statement:

“All art is quite useless.”

was not nihilistic dismissal, but a direct challenge to the belief that art required moral justification in order to possess cultural value.

For Wilde, beauty represented its own intellectual and emotional purpose. Art did not need to educate society morally. It needed to intensify perception, sensation, imagination, and emotional awareness.

This philosophy appears most powerfully inside The Picture of Dorian Gray, where aesthetic obsession gradually becomes psychological corruption. Dorian attempts to preserve eternal beauty externally while his hidden portrait absorbs moral decay internally.

The novel therefore transforms beauty into psychological horror because aesthetic perfection becomes inseparable from repression, narcissism, desire, and moral fragmentation.

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Beauty and Moral Transgression

What united Wilde and Baudelaire most deeply was their refusal to separate beauty from moral ambiguity.

Victorian culture often attempted to organize reality through strict moral categories dividing purity from corruption, virtue from vice, and refinement from degeneracy. Decadent writers destabilized those boundaries intentionally.

Baudelaire repeatedly transformed decay into poetic elegance. Wilde transformed aesthetic pleasure into psychological temptation. Both writers recognized that human beings frequently feel attracted toward experiences society labels dangerous, excessive, artificial, or forbidden.

This fascination with transgression later became central to Gothic literature, noir cinema, horror fiction, and modern dark aesthetics because these traditions continually explore emotional experiences existing beyond socially acceptable boundaries.

Decadence therefore did not glorify evil simplistically. It examined the unstable relationship between desire, beauty, morality, and identity itself.

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Artificial Beauty and Urban Melancholy

Both Baudelaire and Wilde also became fascinated with artificiality. Perfume, cosmetics, mirrors, velvet interiors, candlelight, theater, jewelry, intoxicants, and luxurious decoration appear constantly throughout Decadent art because artificial environments intensified emotional experience deliberately.

Baudelaire especially viewed modern urban life as psychologically fragmented and spiritually exhausting. Paris became both seductive and alienating simultaneously. Crowds created loneliness. Pleasure produced emotional emptiness. Beauty emerged through instability rather than certainty.

Wilde similarly transformed aesthetic surfaces into psychological performance where identity itself often became theatrical construction.

Modern Gothic fashion and noir aesthetics still inherit many of these visual and emotional ideas through black elegance, romantic excess, melancholic glamour, symbolic ornamentation, and fascination with emotional contradiction.

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The Legacy of Decadence Inside Gothic Culture

Decadent literature profoundly influenced Symbolism, Gothic fiction, horror cinema, dark Romanticism, post-punk aesthetics, darkwave music, noir storytelling, and alternative fashion culture.

The emotional atmosphere surrounding candlelit interiors, melancholic beauty, emotional excess, tragic elegance, existential longing, and seductive darkness all trace partly back to the artistic revolution Baudelaire and Wilde helped shape during the nineteenth century.

Contemporary Gothic culture continues returning to these writers because they treated emotional complexity seriously rather than reducing art to optimism or moral reassurance.

Beauty became psychologically dangerous, intellectually provocative, emotionally immersive, and spiritually destabilizing all at once.

That tension remains central to Gothic aesthetics today.

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Wear the Darkness

Explore Edgar Allan Poe apparel, Gothic aesthetics, noir-inspired fashion, and psychological darkness inside the official Edgar Allan Poets Noir Store.

 

 

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Join the Noir Newsletter

Receive Gothic literature, noir psychology, cinematic darkness, and atmospheric storytelling directly inside your inbox.

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Enter the Noir Atmosphere

Explore Gothic music, cinematic melancholy, Decadent aesthetics, and immersive noir atmosphere through the official Edgar Allan Poets playlist.

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Frequently Asked Questions

What is Decadent literature?

Decadent literature explored beauty, artificiality, emotional excess, moral ambiguity, psychological complexity, and aesthetic experience outside traditional moral conventions.

Why was Baudelaire controversial?

Baudelaire’s poetry addressed eroticism, urban alienation, death, intoxication, and psychological darkness in ways nineteenth-century French authorities considered morally dangerous.

How did Oscar Wilde influence Gothic aesthetics?

Wilde helped shape Gothic and Decadent aesthetics through his fascination with beauty, artificiality, theatrical identity, moral transgression, and psychological duality, especially in The Picture of Dorian Gray.

What connects Wilde and Baudelaire?

Both writers rejected moralistic views of art and explored the unstable relationship between beauty, desire, corruption, identity, and emotional experience.

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Further Into the Darkness

• 
  How Poe Inspired Baudelaire and Les Fleurs du mal
  
• 
  Poe, Baudelaire, and Rimbaud: The Full Symbolist Lineage
  
• 
  Mallarmé and the Pure Poem: How Poe’s Theory Became French Symbolism
  
• 
  Gothic Aesthetic Archive
  
• 
  Noir Psychology Archive
  

The post Oscar Wilde and Baudelaire: Decadence, Beauty, and Moral Transgression appeared first on Edgar Allan Poets – Noir Rock Band.

Where they from?
Charlotte, North Carolina. The New York Knicks are NBA champions. Say no more, no less. They got it done. I can only dream of the day when the Jets finally pull a championship out of their ass (probably 3,000 years from now).

Why the hype?
I normally can be a bit ambivalent when it comes to guitarless grind/powerviolence bands but, Good Lord, does this shit gut punch you in the bowels. MERC’s (ALL CAPS) dual bass attack is one for the ages, providing the slashing evisceration of great guitar work while also the seismic bombast that only two basses can provide. Combine that with an attitude and presentation that lines up perfectly with hardcore’s more militantly pissed-off wing and voilà: you have a winner.

Latest release?
No One Leaves This Room, self-released. The band does an excellent job here of using all 13 tracks to explore different sonic environments and soundscapes, ranging from similar territory as Hong Kong Fuck You at their most furious to introspective noodling that would be right at home and a great post-punk album. This is great stuff right here and will make the most excellent soundtrack for when die-hard Philadelphia Eagles fan Jalen Brunson marches down the Canyon of Heroes on Thursday.

The post Blast Worship: MERC appeared first on Decibel Magazine.

Harry Styles just returned with his new album Kiss All The Time. Disco, Occasionally, and he’s the curator of this year’s Meltdown Festival, the series of shows that comes to London’s Southbank Centre every year. Meltdown began last week, and it runs through June 21. As curator, Styles chose a lineup people like James Murphy, Dev Hynes, Kamasi Washington, and Beverly Glenn-Copeland. Styles gave his own Meltdown performance at the Royal Festival Hall on Tuesday night, and it was different from his regular sets.

The post Harry Styles Covers Simon & Garfunkel And Patrick Watson In Orchestral Meltdown Set appeared first on Stereogum.

(written by Islander) Metal fans who aren’t familiar with the Colombian band Warthrash should be forgiven for assuming their music is straight thrash. The pointer is right there in their name, shining like a beacon on an ocean cliff. But although this band from Medellín did sink their early roots in the traditions of thrash […]

The post AN NCS ALBUM PREMIERE (AND A REVIEW): WARTHRASH — “NO LIGHT SHALL REMAIN” appeared first on NO CLEAN SINGING.

A couple years back we published a We’ve Got A File On You interview with Dale Crover from Melvins, occasioned by his solo album Glossolalia. This allowed us to ask Crover about the time he starred as a young Neil Young in the 1992 “Harvest Moon” video. Here’s what he told us:

The post Dale Crover Shares “Harvest Moon” Cover Decades After Playing Young Neil Young In The Video appeared first on Stereogum.

Album Review: One Day In Pain – Devouring the Gods

Reviewed by Eric Clifford

From the wastes it stalks, ice-rimed eyes weeping molten permafrost in rivulets a-shimmer like fishscales. Ice gilds it, It’s heart a HM-2, flaying winds a shrieking choir through mazes of stalactites that freeze it’s fur into weapons of themselves. Hold the blizzard’s storm-eye, and it’s gaze falls upon you. Snowdrifts are whipped asunder, churned into pale holocausts so far below zero that no fire within the arts of man to make might presume to thaw it. It’s growl is the calving of continents, thunder wrenched up from the earth as entrails clasped and hauled forth to pool steaming. How fast need the inevitable move? In the end you cannot outrun what you cannot outlast, and so it’s movements are moderate, a crushing roll of creeping stormfronts swallowing what falls exhausted before it. The swirling detritus of disembowelled glaciers marches to the fore like a herald, the bass thrum of collisions within the frozen melee the pulse of a living end, Armageddon writ in the tongue of endless winters.

One Day in Pain. Formed as a supergroup by members of grindcore masters “30 Seconds of Moderate Discomfort” and doom/drone monarchs “A Calendar Month of Complete Fucking Agony”, One Day in Pain (ODIP from this point on) are Swedish, and they play death metal. Impossibly heavy guitars strung with strips peeled from Fenris’ jugular, weaponised punk drum beats from the Discharge arsenal snatched to hollow the landscape with saturation bombing, vocals like orc war-chants, bellowed vows to slaughter for Sauron, and the bass…oh, this glorious bass. Heavier than generational trauma it blows chunks out the planet’s crust with each tide-shifting punch of it’s strings. It blasts out the mix in a deranged kamikaze of low-end grunt, taking an already filthy guitar tone and turning it into a bioweapon of a listening experience. It – the album entire – just sounds revolting in that quintessentially Swedeath way, vomiting pestilent lungfuls of the same grotesque miasma that sullied the air about those early classics from the likes of Grave or Entombed. Yet of the “big four” Swedeath bands (Grave, Entombed, Dismember and Unleashed. More like big five if you want to include At the Gates, which, to be fair, you probably should) the one ODIP most remind me of are my personal favourite: Unleashed.

It’s in the groove and the melody, I think. Tracks like “Let it Bleed” ooze with pox-ridden, unnatural thrash riffs from the same unspeakable phylum that so much of latter-day Unleashed marauds from (which is to say nothing of the uptempo sway the song skins alive at 1.27, which could’ve handily sat on, say, “Shadows in the Deep”). Mid-paced spearhead divisions of tracks like “Be Dead” slam the supine vanquished beneath pounding jackboot heels, urged on by the militaristic 4-count marching beat of a drumkit being beaten to within an inch of its life. That bass comes through, implacable, unstoppable, massed armour manoeuvres and there’s you in front of it all with a loincloth and a sharp stick to try make them think twice about burning the earth to it’s core. The game here is ultimately very conventional, even if it is played very well. “Ferocious Consumption” poisons it’s arrowheads with tight harmonies and a little Gothenburg warpaint to it’s song-craft; it’s one of the more overtly melodious cuts present, yet still digs in the siege weaponry with rolling rhythms and a production that – not to overstate the case – feels like being in a cage fight with a hormonal polar bear.

Things never quite reach for the peregrine dive velocities – the album obviously has it’s moments where it decides it’s got somewhere to be and floors the accelerator, but overall it generally seems more comfortable leveraging it’s weight to deliver goliath swings and grooves. That’s arguably to it’s benefit – “Emptiness” (one of the more spritely in the brood) conducts it’s hostilities with two of the more technical solos among the track list and corrupts it’s gene pool further with an intriguing time signature switch in the midsection, though overall if I had to pick which track was going to torch my home and drive my people into the sea, I think I’d still opt for the mountain-crumbling “Ashen Soul”. A walking bass line patrols the outer perimeter, and it’s verse riff is a simple yet inarguably effective sledgehammer straight to the temple. I think it might be clear by now, but there’s nothing particularly revolutionary afoot here; had any of the four Swedish national treasures I blathered on about earlier released this album at any point during their initial period in the early 90’s I imagine few would have complained. And while I do mean that in a complimentary sense, there is a slight sting in tail about its anachronistic nature nonetheless. I’ll never get tired of Bolt Thrower, though it does feel a bit as though ODIP agree with me a bit too much for their own good. The omnipresent double time / not quite tremolo picking on riffs, frequent mid-tempo sections and bleak yet evocative melodies on, say “Garrotterad” or “Conquering the Void” make the link as clear as it could be without straight up pilfering the riff from “World Eater”.

I guess then the main question is: are you in the market for something obscenely heavy that prowls the midground between Unleashed and Bolt Thrower (or even Unleashed homaging Bolt Thrower on “The Bolt Thrower” from the “Dawn of the Nine” album)? The answer – which should obviously be yes – will determine whether you should open your wallet or ask someone with big hands and a hateful heart to slap some sense into you. Frozen Soul have a fair bit of buzz to their name now – fans of them would, to nigh certainty, find much to love here. Between it’s gross heaviness (my god, that fucking bass, I love how PRESENT it is), it’s litany of gleefully sociopathic grooves, and the sheer unbeatable fun of a good old school death metal record, whatever you had in mind for the change in your pocket, cancel your plans and spend it on this instead.

To the wastes it returns, drool flash freezing in spindle crowns of daggers lining it’s maw. The cold front wanders with it, as though leashed to it’s haunches, an unceasing avalanche ever grinding, ever crushing, a heaving white sepulchre for countless human souls smashed to atoms in the howling torrents of it’s guts. It’s footprints shall never warm; years from now, as the sun bloats and boils the seas and bakes green land into a gnarled, flaking nothingness there will yet be these lone steps, claw-gouged cruel into long-dead soil, frost-webbed and lingering even as all starlight fades from the sky.

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: One Day In Pain – Devouring the Gods appeared first on The Razor's Edge.

After spending the last ten years away from the stage, Edguy have confirmed their first live appearance in a decade.

The German melodic metal veterans will return to perform in their hometown of Fulda, Germany, on June 25, 2027. Tickets for the concert go on sale on June 17 at 10:00 a.m. CET through Eventim.

The announcement arrived via the band’s social media channels, where Edguy shared a brief message with fans: “Some stories deserve a final chapter. Let’s write ours together.”

The news marks a significant development for a band that has largely remained inactive while frontman Tobias Sammet concentrated on Avantasia, the ambitious metal opera project that has occupied much of his attention over the last decade.

Back in March 2025, Tobias Sammet spoke with Metal Hammer about the possibility of reviving Edguy and offered a candid assessment of the band’s situation.

“Good question. I have no idea, really. It’s not that I don’t care; that’s a misconception. The truth is we got together as 14-year-old kids. Nobody could sing, nobody could play an instrument, nobody could write songs… and we developed, side by side, at the same pace. But at a certain point we were going in different directions. Everyone has a different work ethic and a different approach to how things should be done, and people started to argue. After a while, 90% of the energy was going into trying to find compromises, and that’s not easy, especially if you’re the one who does really everything. With Avantasia, I can produce an album in two months. With Edguy, in two months we haven’t even agreed what key the first song should be in. We still get along, but everybody has found different ways to make their living. The book is not shut yet. God knows what’s going to happen or when, but it won’t be soon. I wouldn’t mind singing those songs onstage again, but right now I don’t miss it enough to bear the stomachache I had going to the rehearsal room every day.”

At the time, Sammet suggested that a reunion was unlikely in the near future. The newly announced Fulda concert indicates that circumstances have changed, at least enough for the band to share a stage once again.

The last major Edguy release arrived in 2017 with Monuments, a career-spanning 25th-anniversary package issued through Nuclear Blast. The collection featured new material, a selection of the band’s most notable songs, and previously unreleased rarities. It also included a DVD containing a full performance from the band’s Hellfire Club tour in 2004 along with the complete archive of Edguy music videos. A limited-edition version came bundled with an extensive coffee-table book documenting the band’s history.

As for studio material, Edguy‘s most recent album of original songs remains Space Police – Defenders Of The Crown, which was released in April 2014.

For longtime fans, the Fulda show will be the first opportunity in years to see Edguy perform live. Whether it leads to additional concerts or something more remains unknown, but the band’s return has officially begun.

The post TOBIAS SAMMET Reunites EDGUY For First Live Performance In A Decade appeared first on Sonic Perspectives.

The metal legends are booked to play 91 gigs in 2026 alone