{"id":44268,"date":"2025-08-17T12:03:54","date_gmt":"2025-08-17T10:03:54","guid":{"rendered":"https:\/\/tempelores.com\/?p=44268"},"modified":"2025-08-17T12:03:55","modified_gmt":"2025-08-17T10:03:55","slug":"09-08-2025-alcatraz-festival","status":"publish","type":"post","link":"https:\/\/tempelores.com\/?p=44268","title":{"rendered":"09-08-2025 Alcatraz Festival"},"content":{"rendered":"\n
Location: Kortrijk (Belgium)<\/em> \n\n<\/pre>\n\n\n\n\n\n\n\n
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Tenside<\/h4>\n\n\n\n
Tenside is a powerhouse metalcore band from Munich, Germany, formed in 2004, melding modern metal, groove, thrash, and industrial influences. Their style has evolved from Nu Metal  to a dynamic metalcore\/Groove Metal hybrid.  They celebrated their 20th anniversary in 2024 with the release of their latest album, “Come Alive Dying”, a richly textured and diverse release that balances aggression and melody with deep thematic resonance.<\/p>\n\n\n\n
Tenside delivered a tight, high-energy set that punched well above its early slot. A standout was the track “Deadweight” which has featured prominently in their set.
Despite the early slot, the crowd’s energy was great. Tenside\u2019s ferocious delivery and vivid stage presence turned what could have been a quiet opening into an adrenaline-charged mosh-friendly affair. The mix of thunderous drums and tight guitar interplay created an immersive sonic experience. Their sound resonated clearly, cutting through any ambient noise, and the crowd\u2019s enthusiastic response made it clear Tenside had captured much their attention.<\/p>\n<\/div>\n\n\n\n
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Signs of Algorythm<\/h4>\n\n\n\n
Signs Of Algorithm is a Belgian metalcore\/deathcore band hailing from Bruges, Belgium. Formed around 2013, the group has steadily forged a reputation for blending crushing riffs, technical aggression, and melodic depth.
Their most recent studio album, Sunchaser, was released on June\u202f6,\u202f2025.<\/p>\n\n\n\n
Witnessing Signs Of Algorithm live at Alcatraz was an electrifying affair. Known for their stage presence and emotionally intense performances, mixing raw aggression with soaring melodic undercurrents, they deliver an immersive sonic assault that sparks both movement and reflection.
The breakdowns and commanding vocals of Frederick Vanhille likely ignited the crowd, carving a high\u2011voltage atmosphere even in an early slot. The blend of heavy rhythms with atmospheric euphoria would have created a powerful duality much like the thematic tension in \u201cFirst We Dream Then We Die\u201d, leaving the audience both shaken and uplifted.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Myrath<\/h4>\n\n\n\n
Myrath is a Tunisian progressive\/power\/oriental metal band, often described as creators of “blazing desert metal”, a fusion of Middle Eastern melodies with progressive and power metal styles. Founded in 2001 (initially as X\u2011Tazy), they are known for cinematic storytelling and rich cultural instrumentation. Their most recent studio record, Karma<\/em><\/strong>, was released on March 8, 2024<\/strong>, continuing their tradition of lush, theatrical metal.<\/p>\n\n\n\n
Myrath delivered a visually striking set today at Alcatraz. It felt like a cinematic voyage, transporting the audience into a desert-infused mythic narrative. Zaher Zorgati\u2019s soaring vocals blended with powerful instrumentation, crafting a web of intensity and mystique. The crowd was visibly captivated, swaying, cheering, and sometimes quietly mesmerized as each melodic arabesque unfolded. Even in the midday sun, their soundscape and stagecraft held rapt attention and built an immersive, almost ritualistic vibe. Myrath truly turned their slot into more than a set.  A unique experience this day and maybe even the whole festival.<\/p>\n<\/div>\n\n\n\n
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Between The Burried and Me<\/h4>\n\n\n\n
Between the Buried and Me (BTBAM) is an American progressive metalcore band formed in 2000 in Raleigh, North Carolina, with members Tommy Giles Rogers Jr., Paul Waggoner, Dan Briggs, and Blake Richardson. Their music defies easy categorization, blending progressive metalcore, technical death metal, metalcore, and avant-garde metal, constantly shifting between thrash, melodic, and experimental passages. Looking ahead, they\u2019re set to release their eleventh album, The Blue Nowhere<\/em>, on September 12, 2025, with the lead single \u201cThings We Tell Ourselves in the Dark\u201d already out.<\/p>\n\n\n\n
The Helldorado stage was lighting up with BTBAM\u2019s electrifying energy. Their signature blend of shifting moods from brutal precision to melodic exuberance captivated the midday crowd. The mix of nostalgic favorites like Alaska and a fresh, forward-looking single would have created a dynamic tension, thrilling fans old and new alike. The audience was  drawn into the band\u2019s compositions, translating technical flair into a communal, near-transcendent experience that defined the festival\u2019s second day that was filled with Progressive bands.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Mammoth Grinder<\/h4>\n\n\n\n
Mammoth Grinder is an extreme metal band hailing from Austin, Texas, founded around 2005. They deliver a brutal blend of death metal, hardcore, and sludge, anchored by a crudely raw, punk\u2011infused sound. After a hiatus, they returned in 2024 with the EP Undying Spectral Resonance<\/em><\/strong>, released November 15 via Relapse Records, featuring five tracks that lean into old-school, punishing death metal with punk energy. 
Mammoth Grinder\u2019s slot on the swamp stage, mid\u2011day yet fiercely charged, transformed the afternoon into a punishing maelstrom. Their blend of punishing riffs, punk\u2011tinged rhythms, and relentless delivery ignited the crowd into high-energy movement. The sonic brutality combined with their raw stage presence cut through the festival noise, delivering an burst of extreme heaviness in full glory.<\/p>\n<\/div>\n\n\n\n
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Evergrey<\/h4>\n\n\n\n
Evergrey is a Swedish progressive\/power metal band originating from Gothenburg, formed in 1993 by Tom\u202fS. Englund and Dan\u202fBronell. Their dark, emotionally charged sound blends melodic heavy metal with complex progressive passages. 
With their midday slot on the Prison Stage, Evergrey cast a spell of melancholic grandeur over the crowd. The blend of haunting, atmospheric melodies and emotionally raw vocals would have drawn listeners into their introspective world. \u201cFalling From the Sun\u201d provided an explosive opening that captured hearts, while \u201cMidwinter Calls\u201d delivered that signature emotional depth that defines Evergrey\u2019s live power. Even under daylight, the band\u2019s soaring riffs and engaging stage presence would have conjured a cinematic, immersive mood, turning a festival set into a stirring descent into darkness and reflection.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Ne Obliviscaris<\/h4>\n\n\n\n
Ne Obliviscaris is an Australian progressive extreme metal band hailing from Melbourne, formed in 2003. Their sound is a masterful intertwining of progressive metal, blackened death, and avant-garde influences, featuring both harsh and clean vocals, virtuosic guitar work, and violin passages.<\/p>\n\n\n\n
Watching Ne Obliviscaris live is nothing short of transcendental. Their combination of sweeping violin melodies and shifting extremes. From delicate, poignant passages to crushing aggression, they create an immersive, cinematic experience. Even in the afternoon light, their emotionally rich and technically intricate performance captivated the audience, drawing them into a visceral journey shaped by beauty and brutality. The Helldorado crowd was spellbound, responding to every crescendo, every haunting refrain, with a kind of reverent awe that only Ne Obliviscaris can inspire.<\/p>\n<\/div>\n\n\n\n
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Baest<\/h4>\n\n\n\n
Baest is a Danish death metal band formed in Aarhus in 2015. Their name, originally spelled B\u00e6st<\/em> (the Danish word for “beast”), reflects their ferocious sound and presence. Signed to Century Media Records since 2018, they\u2019ve released a series of increasingly brutal albums: Danse Macabre<\/strong> (2018), Venenum<\/strong> (2019), and Necro Sapiens<\/strong> (2021) and a new one will see light a week after Alcatraz.<\/p>\n\n\n\n
Baest\u2019s appearance at Alcatraz was a powerhouse moment. Their intense stage presence and headbanging energy brought raw aggression into sharp focus, likely igniting pits and driving the crowd into a frenzy. The new singles’ melodic hooks added a catchy edge, making the set both brutal and memorable. With the air thick from heavy riffs and thunderous rhythms, Baest delivered a monster of a set, equally  devastating and exhilarating, fully embodying the meaning of their name.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Drowning Pool<\/h4>\n\n\n\n
Hailing from Dallas, Texas, Drowning Pool formed in 1996 and became a staple of the nu-metal and alternative metal scene with their breakout hit \u201cBodies\u201d<\/strong> from the debut album Sinner<\/em> (2001). With a raw, aggressive style rooted in groove-laden riffs and emotionally charged vocals, the band has evolved through several vocalists over the years.<\/p>\n\n\n\n
Slotting in mid-afternoon on the Prison Stage, Drowning Pool likely turned the time slot into an explosive highlight. With McCombs back at the helm, his commanding vocals breathed new life into signature tracks, while the fresh energy of \u201cRevolution\u201d added a thrilling edge. The audience got caught between nostalgia and  intensity and responded with fierce moshing, chants, and collective adrenaline. The sound of \u201cBodies\u201d alone has a warped gravitational pull, drawing every corner of the stage into its grip. In essence, Drowning Pool\u2019s Alcatraz set must have been a thunderous fusion of legacy and renewal\u2014an electric moment that solidified their return to the modern metal conversation.<\/p>\n<\/div>\n\n\n\n
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Rivers of Nihil<\/h4>\n\n\n\n
Rivers of Nihil is an American technical and progressive death metal band from Reading, Pennsylvania, formed in 2009. Since 2013, they’ve released five albums, exploring thematic depth and musical innovation\u2014from their season-themed tetralogy (The Conscious Seed of Light<\/em>, Monarchy<\/em>, Where Owls Know My Name<\/em>, The Work<\/em>) to their 2025 self-titled release. Their latest, Rivers of Nihil<\/em><\/strong>, dropped on May 30, 2025<\/strong>, marking a bold new chapter with bassist Adam Biggs stepping into clean vocals and the addition of guitarist Andy Thomas (ex\u2011Black Crown Initiate), offering a leaner, more refined sound interwoven with technical brilliance and experimentation.
And how this would translate to their live show is what brought many to the tent. Rivers of Nihil transformed the festival energy into a technical journey. Their blend of crushing riffs, soaring clean vocals, and intricate saxophone passages (notably on songs like House of Light) hooked the crowd in various ways. The melodic depth of \u201cWhere Owls Know My Name\u201d alongside the fresh intensity of \u201cCriminals\u201d and \u201cThe Sub\u2011Orbital Blues\u201d created dynamic contrast enthralling listeners, igniting movement, and delivering one of the most immersive, progressive highlights of the day.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Nailbomb<\/h4>\n\n\n\n
Nailbomb is an industrial\/thrash metal side project created in 1993 by Max\u202fCavalera (of Sepultura and Soulfly) and Alex\u202fNewport (of Fudge Tunnel). Known for their aggressive fusion of industrial, thrash, hardcore punk, and groove elements, they produced only one studio album, Point Blank<\/em><\/strong>, released in March 1994. That album captured their raw, “hate project” spirit, blending crushing riffs with chunky samplers.<\/p>\n\n\n\n
Nailbomb\u2019s return to Alcatraz was an interesting event. The energy of their industrial-thrash assault, coupled with Max Cavalera’s commanding presence and the tight new lineup, likely ignited the crowd with primal ferocity. The chaotic mix of crushing riffs, punk attitude, and aggressive sampling would have translated into a pit\u2011driven onslaught, fueled by nostalgia and primal power. Their slot, late afternoon in the Prison stage, felt like a cathartic eruption: a brief but explosive return of a cult legend, reminding festival-goers what it means to truly \u201cwipe the floor.\u201d<\/p>\n<\/div>\n\n\n\n
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Vola<\/h4>\n\n\n\n
VOLA is a Danish progressive metal band from Copenhagen, formed in 2006. Their sound artfully blends djent, progressive rock, electronica, and alternative metal, marked by atmospheric keyboards and clean, soaring vocals. Their most recent studio release, Friend of a Phantom<\/em><\/strong>, debuted on November\u202f1,\u202f2024, through Mascot Records. The album balances heavy riffs with delicate synths and features a guest appearance by Anders Frid\u00e9n of In Flames on the track \u201cCannibal\u201d.<\/p>\n\n\n\n
VOLA\u2019s performance stood out for its emotional nuance and sonic depth. Now we have seen the band grow a lot through the years and thus not a surprise to us. Their blending of groove-rich riffs, melodic refrains, and electronic textures made for a mesmerizing mid-afternoon set. The crowd found themselves captivated by the blend of heaviness and ambient calm, heads swaying to the pulsing groove one moment, hushed and reflective the next. It was the kind of set that feels both introspective and communal, turning the Helldorado stage into a moment of atmospheric transcendence.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Vader<\/h4>\n\n\n\n
Vader is a legendary Polish death\/thrash metal band hailing from Olsztyn, formed in 1983. They’re renowned for pioneering extreme metal. In 2025, they released a new EP titled “Humanihility” , a raw, thrash-infused return featuring fresh material including the anthemic track \u201c<\/strong>Unbending\u201d<\/strong> \u2014 this EP marks the first recordings by their expanded quintet lineup with the return of Mauser and addition of new drummer Michael.<\/p>\n\n\n\n
With such a stable factor as Vader on the bill you, know there will be a good show to expect. Their intense stage presence and razor-sharp riffs, paired with scorched vocals by Piotr “Peter” Wiwczarek  carved the air with aggression. The mix of new material like Wings alongside cult classics like Dark Age provided both fresh adrenaline and deep-rooted fan service. The unexpected inclusion of a Black Sabbath cover added a fun, reverent twist, illuminating the band’s influences in a moment of ironic homage to Ozzy who passed so recently. <\/p>\n\n\n\n
Surprising show? No, because this band is stable and always delivering. So all worth our time!<\/p>\n<\/div>\n\n\n\n
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Wolfmother<\/h4>\n\n\n\n
Wolfmother is an Australian hard rock trio rooted in the stoner\/psychedelic rock tradition, formed by frontman Andrew\u202fStockdale in 2000 in Sydney. Their sound channels the energy of 1970s rock icons\u2014Led Zeppelin, Black Sabbath, and Deep Purple\u2014fused with a modern neo-psychedelic and bluesy aesthetic. As of 2025, their most recent studio release is Rock Out<\/em> (2021), and they’ve long been riding the legacy of their breakout self-titled debut from 2005, which spawned enduring anthems like “Woman” and “Joker & the Thief”.<\/p>\n\n\n\n
Wolfmother delivered a nostalgic yet electrifying experience, bringing 70s rock energy to the festival\u2019s late afternoon slot. The crowd was probably drawn in by Andrew\u202fStockdale\u2019s charismatic vocals and guitar swagger, feeding off the timeless power of \u201cWoman\u201d and the chant-along magnetism of \u201cJoker & the Thief.\u201d Their stage presence, steeped in retro flair and amplified by emotionally charged swagger, surely engaged many. A bit of a stranger here today, but it surely seem to work.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Caliban<\/h4>\n\n\n\n
Caliban is a German metalcore band from Essen, active since 1997, and widely regarded as a cornerstone of the genre in Europe. Their sound has evolved from crushing breakdowns to a more dynamic mix of aggression and melody. Their latest studio album, Back From Hell<\/em><\/strong>, was released on April 25, 2025<\/strong>, and introduces new bassist and clean vocalist Iain Duncan\u2014a move that brought fresh emotional and stylistic nuance to their brutal sound.<\/p>\n\n\n\n
Caliban\u2019s slot on the Helldorado stage delivered a potent mix of intensity and introspection. Opening with \u201cGuilt Trip\u201d<\/strong>, they laid a dark, cathartic foundation, then guided the crowd through a sonic journey that balanced crushing riffs and clean vocal melodies. The mid-set \u201cInsomnia\u201d<\/strong> with its acoustic intro added a touching emotional pivot before launching into the feral energy of newer tracks like \u201cBack From Hell\u201d<\/strong>. Classics such as \u201cMemorial\u201d<\/strong> and \u201cIch blute f\u00fcr Dich\u201d<\/strong> resonated deeply, blending nostalgia with reinvention. The introduction of Iain Duncan\u2019s clean vocals enriched live dynamics, offering chilling contrast to Andreas D\u00f6rner\u2019s fierce delivery and reinforcing Caliban\u2019s stage presence.<\/p>\n<\/div>\n\n\n\n
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Doro<\/h4>\n\n\n\n
Doro Pesch, often dubbed the \u201cQueen of Metal,\u201d is a German heavy metal icon who rose to fame in the early 1980s as the frontwoman for Warlock before embarking on a successful solo career in 1988.<\/p>\n\n\n\n
Taking the stage just as night fell, Doro\u2019s set likely felt both epic and heartfelt. She has a knack for blending fierce metal with emotional depth\u2014whether by delivering blistering riffs or heartfelt ballads like F\u00fcr immer. The inclusion of Warriors of the Sea would have added a triumphant and thematic flair, especially fitting for the festival setting. Her charismatic stage presence and unwavering vocal power, even after decades in the industry, would have ensured a deeply engaging experience\u2014invigorating the crowd with nostalgia and solidarity. There is a reason why they call her the Queen of Metal. <\/p>\n<\/div>\n<\/div>\n\n\n\n
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Fit For A King<\/h4>\n\n\n\n
Fit For a King is an American metalcore band from Tyler, Texas, formed in 2007. They blend metalcore, melodic hardcore, and deathcore nuances\u2014known for seismic breakdowns, emotive melodies, and relentless energy. The band comprises Ryan Kirby (vocals), Bobby Lynge (guitar), Daniel Gailey (guitar), Ryan “Tuck” O\u2019Leary (bass\/vocals), and Trey Celaya (drums). Their most recent studio album, Lonely God<\/em><\/strong>, was released on August 1, 2025<\/strong>. It marks a bold creative leap\u2014featuring intense metalcore power, industrial textures, and collaborations with Lochie Keogh, Landon Tewers, and Chris Motionless. Fit For a King delivered a high-octane, immersive set. \u201cTechnium\u201d and \u201cNo Tomorrow\u201d represented their current creative thrust, intense, industrial-tinged anthems signaling evolution. Meanwhile, fan favorites like \u201cBackbreaker\u201d and \u201cGod of Fire\u201d fueled the pit into a fervent frenzy. Their balanced mix of aggression and melody likely turned the late-evening air electric\u2014with every breakdown, chorus, and riff drawing the crowd into a collective surge of energy and intensity. Stage presence might be somewhat static for them, the music surely found its way. We could imagine seeing them on the road with Khroma.<\/p>\n<\/div>\n\n\n\n
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The Black Dahlia Murder<\/h4>\n\n\n\n
The Black Dahlia Murder is a cornerstone of American melodic death metal, formed in Waterford, Michigan in 2001. Highly regarded for their blistering intensity and razor\u2011sharp musicianship, they’ve remained one of extreme metal’s most consistent forces (origin and genre). Their tenth studio album, Servitude<\/em><\/strong>, was released on September 27, 2024<\/strong>, marking a poignant new chapter including vocalist Brian Eschbach and returning guitarist Ryan Knight.<\/p>\n\n\n\n
As evening rolled in, The Black Dahlia Murder turned the Swamp Stage into a maelstrom of savage precision and emotional catharsis. Brian Eschbach\u2019s vocals\u2014stepping into Trevor Strnad\u2019s immense shoes\u2014and the band’s feral delivery  ignited a relentless pit, blending nostalgia with fierce evolution. Tracks like \u201cAftermath\u201d would carry the weight of renewal, while \u201cTranscosmic Blueprint\u201d and other favorites doubtless rallied the crowd into roaring unity. Seems like the newbees got accepted quite well. <\/p>\n<\/div>\n<\/div>\n\n\n\n
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Helmet<\/h4>\n\n\n\n
Helmet is an American alternative metal band formed in New York City in 1989 by vocalist and lead guitarist Page Hamilton. Known for their innovative blend of post-hardcore, noise rock, and alternative metal, Helmet gained significant recognition with their 1992 album Meantime<\/em>. After a hiatus from 1998 to 2004, the band returned with Size Matters<\/em> and has since continued to evolve their sound. Their most recent album, Left<\/em>, was released in 2023, showcasing a matured and refined approach to their signature style.
Helmet’s Alcatraz set was a masterclass in precision and groove, with Page Hamilton’s commanding presence anchoring the performance. The band’s tight rhythm section and Hamilton’s distinctive guitar work resonated deeply with fans, old and new. The setlist, drawing from their extensive catalog, provided a dynamic experience, balancing the raw energy of their early hits with the refined complexity of their newer material. The crowd’s reaction was undoubtedly one of appreciation for a band that continues to influence the alternative metal scene decades after their inception.<\/p>\n<\/div>\n\n\n\n
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Candlemass<\/h4>\n\n\n\n
Candlemass is a Swedish doom metal band formed in 1984, widely credited with defining the genre. Their 1986 debut, Epicus Doomicus Metallicus<\/em>, coined the term \u201cdoom metal\u201d and set the blueprint for the genre. Over the years, they’ve collaborated with various vocalists, including Johan L\u00e4ngqvist, who rejoined the band in 2018. Their latest release, Sweet Evil Sun<\/em>, came out in November 2022, followed by the Black Star<\/em> EP in May 2025, featuring the title track as its lead single .
Candlemass’s Alcatraz set was one of the greatest in atmospheric doom metal. The Swamp Stage, with its somewhat intimate setting, amplified the band’s epic, melancholic sound. Johan L\u00e4ngqvist’s powerful vocals, combined with the band’s slow, crushing riffs, enveloped the audience in a sea of doom. The performance resonated deeply with long-time fans, offering a cathartic and immersive experience. Candlemass have redefined themselvesea couple of times through history and the last years they have been reaching new heights with their live set, a testament of that was seen today.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Leprous<\/h4>\n\n\n\n
Leprous is a Norwegian band known for their genre-defying blend of progressive rock, art rock, and metal. Emerging in the early 2000s, they gained prominence as Ihsahn’s backing band before establishing their own identity. Their latest album, Melodies of Atonement<\/em>, released in 2025, has been hailed as a return to their roots, combining intricate compositions with emotional depth.
Leprous’s performance at Alcatraz was making us think back to the first time we saw them, when they were the band that also brought Ihsahns music alive. Today the Helldorado Stage, with its intimate setting, allowed the band’s intricate arrangements and Einar Solberg’s emotive vocals to resonate deeply with the audience. The setlist, drawing from their latest album and fan favorites, showcased their dynamic range and ability to captivate listeners, leaving a lasting impression on all in attendance. Explosive as ever but so much more dosed. This band went through a great journey and now seeing them headline this stage today brought a great closure to the saturday. <\/p>\n<\/div>\n\n\n\n
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Links:<\/strong><\/h4>\n\n\n\n
Website<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"
Location: Kortrijk 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