Review by Gary Spiller for MPM
See the rainbow, shining brightly
Shooting rockets to the sky
Making music, and it, rolled on through the night
You could hear, on the air, rock n’ roll, everywhere
Saxon – ‘And The Bands Played On’
Surely, it’s not Saturday already? Sadly, the enquiry is answered in the affirmative and thus my initial thought of the morning is that it’s the closing chapter of this year’s entry into the leather-bound grimoire that binds the annals of Rockharz. Still, on the other hand, it’s a day closer to 2026’s edition with attractions such as Alice Cooper, Helloween, Biohazard, Dominum and Final Cry. The latter featuring Rockharz’s very own Head of Press Kai Wilhelm.
2025 has been another year of positive progression; the festival totems have borne witness, for the first time, to eight couples taking their marital vows on site. There are the impressive initiatives such as the ever-expanding Inclusion Project (to provide the festival experience for ALL) and the ‘Happiness in Cans’ charity scheme (which is looking to further improve upon last year’s record total of 77,000 Euros) that are firmly part of the integral Rockharz fabric.
At the beating heart of it all are what matters the most; the fans and the bands along with every single volunteer who makes the festival tick along. It’s with this at the forefront of our minds that we apply one last boot to the derriere and roll out of bed to achieve festival readiness for one final time at Ballenstedt. By opening the curtains, we can offer a reply to Saxon’s enquiry in the above track there’s a small chance of rain, snow hasn’t even been considered and, above everything else, it’s guaranteed to shine! We’ll take that for sure.
A dusty morning arena greets us as we assemble for the first band of the day. The final ‘hangover’ slot, probably one of the hardest sets to play of any festival especially four-dayers like here at Ballenstedt. However, with an insatiable livewire energy Hamburg quartet Velvet Rush are more than up for the challenge.
Google the band’s home city and you’ll rapidly be provided with lengthy lists of venues that gives initial insight of the port’s lengthy association with things rock n’ roll. From a nascent Beatles in the early 60s through such varied acts as Nena, Scooter, Helloween, and Mono Inc it’s clear that, in one form or another, it’s a city that rocks and rolls.
There’s still 40 minutes remaining of the morning when an aptly arenaceous dust-devil southern-infused intro ushers Velvet Rush out on to the Rock Stage. The already healthy-sized crowd provide percussive accompaniment, clapping along, as the band gather their senses before vocalist Sandra Lian, raising twin horns, greets the crowd, and gives the green light, go.
Hard-kicking and straight to the point debut single ‘Euphonia’ floors the accelerator with plenty of bite. Reminiscent of The Damn Truth and The Last Internationale it’s straight-forward, instantly enjoyable with an almighty hook that borders on lethal infectious levels. The punchy ‘Give Me Your Lovin’’ – an as yet unreleased track from the forthcoming debut album due in September -possesses sleek Corvette lines.
Harnessing the likes of ZZ Top and The Eagles the foot-stomping ‘No Way Back’ gets heads nodding. The bands stripped-back set-up is an ideal complement to their raw sound. Dennis Henning’s six-string trucks along, whilst Tim Black’s bass pulses as rocksteady drummer Tom Zeschkle strikes out. Radiating a heavied-up Eagles vibe ‘Trail of Gold’ provides another very tantalising glimpse into the new album; I don’t think I’m alone in looking forward to the early autumn.
With its roots in the 60s and 70s ‘Shake that Thing’ is a thoroughbred Stateside rocker with Henning stepping foraying centrally for an Allman Brothers-infused solo that flows so sweetly from his Les Paul. Lian is an enthralling focal point and in the svelte cascade of ‘Fire Spirit’ she maintains the kinetics with zeal; the power in her expansive voice is palpable. All too suddenly the band’s 30 minutes is concluded however in the brief time we’ve spent in their blazing company you can ‘colour’ us fully impressed.
With just a few minutes of the morning remaining Italian pacy power metal outfit Frozen Crown step out into the Rockharz sunshine. Today, following the amicable departure of guitarist Fabiola ‘Sheena’ Bellomo, the band welcome Croatian axe-maiden Alexandra Lioness (mastermind of Croatian band Jenner) for only her second gig amidst their ranks. Fair play, Lioness appears to the unknowing eye that she has been with the band for considerably longer.
Formed eight years ago in Milan this sextet boasts a quite remarkable five albums in their collective locker. We’re taken back to their 2019 sophomore album, ‘Crowned In Frost’ for the opening track. Blending the classic sounds of Maiden and Helloween with the modern fire of Burning Witches ‘Neverending’ is a tasty fusion that grabs initial attention.
That focus is held firmly with the rapid gallop of ‘Steel and Gold’; do I detect a touch of Powerwolf-themed symphonics within? The metalliferous introspection of last year’s ‘War Hearts’ continues with the gushing ‘I Am The Wind’. It might be where I’m stood but Giada ‘Jade’ Elro’s vocals seem a bit too far down in amongst the sound mix. The audio feels a touch muted which isn’t doing this clearly talented troupe much in the way of favours.
The Maiden-esque tones of ‘Kings’ are a flash of the blade slicing into the early afternoon. Rockharz reacts well to the pacy despatch of ‘Far Beyond’ before signature track ‘I Am The Tyrant’ seals the deal. Guitarist Federico Mondelli, initially, takes on the lead vocals being joined by Elro.
There’s a lot of fists being pumped throughout the crowd; Rockharz is absorbed and clearly enjoying all on offer. For myself I’m intrigued and conclude that this isn’t a band to right off. Far from it, in fact, there will be further encounters where I feel Frozen Crown’s sparkling speed metal will grow much further on me.
Self-proclaimed ‘stoner punks’ Bokassa take seize of the Rockharz stage with their incredibly unique punked perspective. I last saw this power(ful) trio, nearly four years ago, in the dark confines of Cardiff’s legendary Fuel Club where they produced a truly feral atmosphere with their short, ultra-sharp “don’t give a damn’ attitude.
Entering the fray to the instrumental strains of ‘Freelude’ – the opening minute or so of 2021’s ‘Molotov Rocktail’- the Norwegian three-pace waste absolutely no time by getting straight into the thick of the action with the rapid buzzsawing of ‘Charmed & Extremely Treacherous’.
Hollering out of Trondhiem this outfit have friends in high places with none other than Lars Ulrich declaring, after Metallica had plucked the band from relative obscurity to open their 2019 European stadium tour, them to be “His favourite new band.”
There’s the punk metal of ‘Garden of Heathen’ that flows forcibly into the outright riot of ‘Walker Texas Danger’. There’s an untamed charm that flows off the stage and strikes full frontal with the brutality of an irate crocodile. On a steep ascent, Rockharz heats ever upwards.
Effusive frontman Jørn Kaarstad smiles continuously whilst barking out the lyrics; with a roar of “God damn!!” the Motörhead-soaked punk of ‘Mouthbreathers Inc’ is unmuzzled and let loose to ‘play’. Taken from ‘War on Everything’, their self-released debut EP, ‘No Control’ quite literally detonates with imparting structural damage over a considerable radius. Even quaking the Teufelsmauer to its core; Satan snorts disapprovingly see his nocturnal efforts crumble.
It’s heavyweight following heavyweight with the marauding stomp of ‘Bradford Death Squadron’ ensuring the legion of doom opens up a dusty circle pit. “Off with their fucking heads!” exclaims Kaarstad. The rawness of ‘Vultures’ stampedes uncontrollably into ‘Immortal Space Pirate (The Stoner Anthem)’ via a mean son-of-a-bitch slaying riff. There must be a hangover from last night’s escapades as I swear I hear a wolf, or five, howl.
Barrelling headlong into heavy metal punking of ‘Last Night (Was a Real Massacre)’ all around is laid to waste. Pulverisations complete the band outro to Gerry and The Pacemakers soaking up the thoroughly deserved cheers from the Rockharz ensemble as, once again, the festival upholds its ethos of throwing in serves and hairpins in it’s hard rocking road-trip. Be sure to catch these cheeky Scandinavian punk reprobates on Clutch’s European winter tour.
Purveyors of the masterful riff Swedish triumvirate Grand Magus caught my ear in the heart of the English countryside with their meaty set last year at Bloodstock. Even though I was crossing the festival site, on my way from one stage to another, I was instantly hooked. Rod, line, sinker, and annual subscription to Angling Times. I vowed to cross paths with them in the very near future.
That promised re-acquaintance is right here, right now where the rolling fertile plains meet the Northern fringes of the Harz mountains. Upon a fresh breeze from the south-west the distant sound of bagpipes blows across the festival grounds. The eagle strikes as sharp and precise as the absolute best of swords. A prevailing scent of lavender pervades as this unassuming trio set foot onstage in readiness for action to the unlikely rocking and rolling of Elvis’ legendary ‘Jailhouse Rock’.
Bringing the indomitable thunder the uncompromising Stockholmers get Rockharz immediately onside with the razor-sharp riffing of ‘I, The Jury’; one of three numbers hoisted off the heavy slab that is ‘Hammer of the North’. Metal of the forest ‘Skybound’ leaves the runway far beneath as it spreads its wings with grace employing elements of Clutch. Low-down, a seismic whirlpool it’s a gritty cocktail of hard rock.
Checking his watch “It’s gonna be metal o’clock all day!” declares frontman Janne “JB” Christoffersson; his fellow founding member Matts ‘Fox’ Skinner (bass) chimes in, raising a bottle, “It’s beer o’clock!” Not a dissenting voice is to be heard. Taking Saxon and ZZ Top and dressing them in stoner finery ‘Steel Versus Steel’ gets Rockharz punching skywards in empowering unification.
Darkened forces focus with touches of Green Lung, Clutch and Amon Amarth – a volatile combination if there ever was one – in the atmospheric shining of ‘Ravens Guide Our Way’. The Viking warriors disembark their vessels with a blood-curdling battle cry; the dark feathers have given way markers. “We like ravens in this band!” quips Christoffersson as way of introduction to the nuclear fission of the doomy overtures of ‘Sunraven’.
Lordly master of the eight strings of his Rickenbacker bass Skinner salutes the arena, “Prost or as we say Skol!” The tumbling percussives of Ludwig ‘Ludde’ Witt lead into the Sabbath-inspired ‘Untamed’. Rammed full of chopping riffage the exuberance of ‘Like The Oar Strikes The Water’ burns brightly.
The three-piece are having an absolute blast, however a crew member warns of time constraints to which Christoffersson mischievously notes “We’re gonna do the short version!” as the paganistic doom of ‘Hammer of the North’ sets sail. It’s poltergeist metal, dark spirits are at employ within this set closer. The only question I now have is with a career of nearly 30 years spanning ten albums how on earth have I not been snared by this band sooner? Classify me as fully addicted.
Like wonders of the world, continents, and deadly sins so the oceans number seven. It is across these tempestuous waters, upon emotive waves, that the good ship of Visions of Atlantis sails. Quite ironical considering that this is a band formed in landlocked Austria in mid-2000. Their motto is bold and straightforward in equal measure, “We are pirates, we conquer.”
To an aptly jaunty nautical intro, the sailors that comprise the crew of VoA ‘walk the plank’ onto Rockharz’s Rock Stage. Led by drummer Thomas Caser, their Captain and sole remaining founder member, salty sea-dogs Herbert Glos (bass) and Christian Douscha (guitar) set foot on the boards. This trio set sail with the opening moments of ‘Master the Hurricane’ before their ranks are completed by the appearance of twin vocalists Clémentine Delauney and Michele Guaitoli.
There’s a stylish touch of classical in their ferocious beauty; their opening number the temptation of the sirens’ call. There is no doubt in my mind that their serene storm of speed / symphonic metal will many to a rocky fate. Waves break into the spectacular Within Temptation / Lacuna Coil crossover of the anthemic ‘Clocks’ that delivers its salutary message of living in the present. “Make a golden play out of every day” strikes a very resonant chord within.
Most happy to be here, Delauney welcomes Rockharz aboard ahead of the rolling thunder and the cathedral tones of the demonic ‘Hellfire’. It’s a compelling theatrical delivery with eloquent daubs of classical and opera darting in and out of the grandiose entwining symphonics. The mainbrace is suitably spliced in the swirling mellifluous harmonics of ‘Tonight I’m Alive’ that emanates from nautical realms. It’s party-time in Davy Jones locker this afternoon.
Adorned with regal headwear Delauney provides an operatic topping to the speed metal of ‘Pirates Will Return’ and further demonstrates her classical training in signature track ‘Melancholy Angel’. It’s pretty evident that Sharon den Adel is a major inspiration on this French singer. Douscha whittles a searing seven-string solo as Rockharz bounces along.
With an absonant, raucous “Hail Jolly Roger” chant we’re invited aboard for one last cannon shot in the form of the mighty broadside of ‘Armada’. The musical stampede becomes one of many feet too as a circle pit is teased open. As one the band take a bow and collectively absorb the crowd’s appreciation as the majesty of Vangelis’ ‘Across the Mountains’radiates.
At Bloodstock last year I noted that Combichrist were, upon my first time seeing them in the flesh, “as cool as a taco-eating sloth riding bareback upon a Tyrannosaurus rex.” After a further 45 minutes consideration of the evidence laid out before me and many thousands of Rockharzers I can only echo this sentiment once more; much louder though. Death metal in the melodic goth vein meets, head-to-head, with Neue Deutsche Härte in this sublime triumph.
Rainbows and blackness nestle together in the warming late afternoon sunshine and to an anguished intro so the five components of Combichrist enter the ring. With a heavy electronic groove and more than a dash of industrial metals ‘All Pain Is Gone’ is darkened angst untethered. Vocalist, and band founder, Andy LaPlegua looks out on the arena; “Are you fucking with me?” he probes.
The hard hammering of ‘Just Like Me’ pulses unrelentingly and with its underpinning of Oomph! and Rammstein it snares the infield with its outfield direction; this is one band who surely defies the box-ticking exercise of genre definitions. ‘Compliance’ brews a hugely bewitching potent infusion of Germanic industrial techno and alt-metal. Heavy metal Sisters of Mercy if you like.
‘Follow the Trail of Blood’ takes things up several more notches, the intensity is to behold. It leads into a barnstorming ‘Children of Violence’ that even packs in a nod towards New Order in the midst of the maelstrom. Rockharz literally bounces hypnotised by ‘Modern Demon’ with a ceaseless drive and seismic tremors; the infield is completely compliant, entranced by LaPlegua and his stormtroopers.
The heavy metal rage of the two parts of ‘Violence Solves Everything’ leaves a delicious aftertaste before latest single ‘Desolation’ raises the festival to the ground. Portentous lyrics – “The sun has abandoned us” – provide an apocalyptical vibe and provides a tempting glimpse into future sounds. The rock hammer dynamics of ‘Never Surrender’ hit a knockout blow in the final round. LaPlegua sums it all up succinctly “Rockharz you’ve been fucking beautiful today!” Combichrist, so have you!
When you get a white cloaked rabbit, quite sinister in appearance, wearing boxing shorts conducting the crowd you know you’ve entered surrealistic territories. With over 4.8 million YouTube subscribers, and still rising, it’s fair to say Norwegian Leo Moracchioli, the key grey matter behind Frog Leap, is a 21st century internet sensation. His multi-instrumental talents have led to a sizeable three figure total of tracks recorded.
It’s an arsenal that a lot of artists would sell their granny for but therein lies the twist as all these numbers are covers. Metallised covers mind you; Moracchioli has created a specialised niche taking the likes of Adele’s ‘Hello’ and Toto classic ‘Africa’ and teleporting them into much more extreme quarters. Add ingenious effervescent videos into the mix and it’s plain to see why Frog Leap is ready-made for Rockharz.
Last year we had the extrovert fun of Nanowar of Steel along with the euphoric madcap of Coppelius here at Ballenstedt; Frog Leap fall somewhere in the middle-ground of this pair. Whilst it goes without saying that running a festival is serious business Rockharz always finds some time and space to let the metaphorical hair down.
The craziness commences with a shred-tastic version of LMFAO’s 2011’s ultra-smash ‘Party Rock Anthem’ (Wikipedia claims it hit no. 1 in 51 countries); Rockharz raises its arms and bounces, readily, to the track’s electronic underpinning. Any person of a certain age will recall the mid-80s classic movie ‘Ghostbusters’ and Ray Parker Jr.’s memorable theme tune.
What nobody who lived through 1984 could have possibly envisaged is a Norwegian metalhead and his assorted crew reshaping that tune into the utterly riotous buzzsawing metal that is poured out in molten form over Rockharz. Crowd surfers aplenty break out whilst ‘Bunny’ seems to have overcooked it in the caffeine stakes.
It’s totally frenzied as electro-smash ‘Dance Monkey’; guitarist Rabea Massaad manically shreds as his being depends upon it whilst Hannah Boulton spar neatly with Moracchioli’s. The sight of thousands of metalheads dancing and monkeying along is somewhat incongruous at first inspection but all things considered it’s a standard Rockharz Saturday evening in fairness. A super-speed ‘Eye of the Tiger’ is the one Bunny has been building up for; drummer Truls Haugen takes the lead vocals with a rasping delivery.
The Proclaimers’ ‘I’m Gonna Be (500 Miles)’ is similarly re-worked receiving the bullish vocal support from the Rockharz choir. Stabbing riffs and thunderous percussions are the order of the day with Bunny hopping over the barrier not to be seen for a couple of tracks. Welsh boyos Punk Rock Factory are totally outdone with the ‘Pokémon Theme’ being diverted down a metal-lined avenue instead of a punked-up one. “Do you wanna catch them all?” probes Massaad.
Last seen upon the shoulders of the crowd Bunny returns for tambourine duties as Boulton also returns for the now legendary metalcoring of Toto’s AOR anthem ‘Africa’. This was my gateway into the insanity of Frog Leap, 61 million views on YouTube can’t be wrong! The one track that really doesn’t get spun on its head and turned inside out is ‘Killing in the Name’. Unsurprisingly it’s a faithful straightforward cover that goes down a storm but does, to me, stand out like a sore thumb for that very reason.
The rain that has threatened throughout the set is driven off and the sun breaks through the cloud for the pummelling spirit haunting finale of ‘Zombie’. It’s been compelling and entertaining; a spot of light relief amidst the more serious and for that reason alone it’s a winner.
Early last year, on their co-headline tour with Amaranthe, I caught Dragonforce in action for the first time and was suitably impressed. I exited Bristol’s O2 Academy wondering how I had not known of this scorching outfit much sooner in their career. With nine glorious slabs of speed/power metal to their credit across their 26 years of being it’s a pondering I’m unable to truly provide a logical answer to.
With an accompanying techno-infused intro co-founding guitarists Herman Li and Sam Totman clamber atop two mighty arcade machines – recall the thrill of changing up a pound note into 10p pieces? – flanking the stage as the other band members assemble, beneath, in a more conventional manner. With a vibrancy normally reserved for the most polished of AOR the technically smart speed metal of ‘Cry Thunder’ gets things rolling in a triumphant manner. We’re teleported into a Tolkien-esque landscape beloved of D&D’ers.
The tribal chicken (in deference to Cucco the fabled chicken from the Legends of Zelda games) is launched into the crowd by vocalist Marc Hudson in time-honoured fashion before the stirring ‘Power of the Triforce’ maintains the hi-velocity opening. The heady draught of ‘Fury of the Storm’ rewinds back to the sophomore album ‘Sonic Firestorm’ with furious fretworking.
Hudson, cracks a smile, “Fuck yeah Rockharz festival!” adding confirmation “You guys are fucking cool man!” The AOR / power metal crossover of ‘Space Marine Corp’ – the band’s tribute to Warhammer – gets Rockharz moving. “From power metal to disco metal” quips Hudson as way of introduction to the sci-fi sizzler ‘Doomsday Party’. The party is all coruscant glitterballs and neon lights with the infield dancing a merry refrain. The Boney M infusions go down a veritable storm.
The elevated levels of fantasy are off the scale in the rousing cry of ‘Valley of the Damned’ – 2003’s debut title track – ahead of the unlikely warp-speed despatch of Taylor Swift’s ‘Wildest Dreams’ is like you’ve never heard before. Single only release from the middle of last year ‘A Draco Tale’ ensures the story shall be told in glittering manner. In the depths of the stage the two mighty dragons flex the muscles.
The mighty level-ending boss fight, and signature track, ‘Through The Fire and Flames’ bears an ultra-fast tempo borne of conflagrant times lifting proceedings to even higher planes. If there was a roof it would have been blown for sure. The entire band is on fire and those that follow have a mighty high bar to clear; only perfection will do.
With a sudden explosion that rips asunder the night airs the rulers of German folk metal In Extremo, in their fifth appearance at Rockharz, set about the massed ranks. Woodland spirits of the obsidian hours stir. Celebrating their 30th anniversary this was, personally, a band not to be missed as they’re incredibly rare visitors to UK shores.
We were not to be disappointed as the Berliners give absolutely everything in a stunning performance that resulted in structural damage across a large swathe of Ballenstedt and surrounding areas. The introductory strains of ‘Ólafur’ shine a leading light in the darkness before the heavy Levellers tone of opening track ‘Spielmannsfluch’ sets a guiding tone. In all quarters Rockharz erupts as the bagpipes wail.
The wild folk metal rouses in ‘Weckt die Toten’, it’s hugely infectious and I’m swept by its tsunamic delivery. The pounding rhythms and rumbling bass of the blaze of ‘Troja’ grabs the devil’s attention. The Celtic metal of ‘Wolkenshieber’ feels so very authentic; Rockharz is in raptures. Quite unexpectedly ‘Sängerkrieg’ injects a punky fringe into the folky shenanigans, clearly a band diverse in its approach.
A ‘waterfall’ of sparks showers the stage whilst the balladic ‘Feine Seele’ gently detonates. There seems to be an intent to go toe-to-toe with Powerwolf in the pyrotechnical department. There’s no time to draw breath in the pacy, energies of ‘Störtebeker’ nor indeed the predatory stomp of ‘Vollmond’ to which the werewolf awakens lusting for blood. The brooding of ‘Liam’ precedes, contrastingly, the bulldozering of ‘Katzengold’; if Motörhead had strayed into these realms, then this surely would have been the end result.
An all-out conflagrant riffer ‘Blutmond’ celebrates the lunar power with rousing bagpipes to the fore. As midnight approaches the jangly helter skelter of ‘Rasend Herz’ serves haunting intent. Celtic gods nod in unified approval. ‘Ai vis lo lop’, replete with folky Powerwolf foundations, takes Rockharz into the wee hours leaving midnight firmly in the rear-view mirror.
There’s more than element of Metallica in ‘Omnia Sol Temperat’ whilst the resonance of ‘Sternhagelvoll’ stirs the proud Celt within my Cornish soul. It’s safe to say I’m impressed with the depth and breadth of this band; I have nothing but confidence in Rockharz’s ability to deliver the very best hard rocking produce.
In Extremo’s set has been rammed full of anthemic contagion but there still remains time sufficient for the hooky infections of ‘Feuertaufe’ and ‘Pikse Palve’ to tear up the arena for a hugely spirited finale. Rockharz what else can we say other than a mahoosive, heartfelt thankyou from the very bottom of our hearts. Until next year, when we shall, once more, meet at the Devil’s Wall.
Photography by Kelly Spiller for MPM
