PartySan open air Report Friday 08.08.2025
Today will be a big Party at 12.00 at the Main Stage, on Friday, the second day of PartySan Open Air, always the Goregrind band is the opener band, it’s like a tradition every year. Today the weather seems cloudy, I hope no rain comes down. After getting some breakfast, hang out with friends while waiting for the first Band gonna Mein Stage.
Main Stage
Today is the Goregriand band from the UK Party Cannon, seems ready to open the party for the early morning the second day of PartySan. In the meantime, the stage ground was already crowded with an audience in party clothes with colourful costumes. The first circle pit is starting up nonstop, and the wall of death and has brought along an impressive selection of props—from classics like toilet brushes flying in the air and leeks to all kinds of inflatable items. In addition to their deathgrind and slam, the band themselves have brought specially made cardboard signs to announce songs such as “Thirst Trap” and “Weird, But Not Illegal. The British band’s performance was great, with great, groovy riffs and an easy-to-follow rhythm. It was great to see them here to bring us awake. 
Next is the International Death Metal band from Copenhagen, Hovedstaden, Denmark / Istanbul, Türkiye, Hyperdontia. Pure old-school death metal, positioned somewhere at the intersection and mixed some elements from Boltrower, Vader and Malevolent Creation. The frontman’s vocal growl reminds me of Brett Hoffmann, the frontman of Malevolent Creation. Very catchy low-end heat riffing, Murky, suffocating atmosphere rather than brutality-for-brutality’s sake, and blastbeat drum, designed for focused listening and steady headbanging rather than chaos or gimmicks. The Drummer Rasmus Schmidt, the guy who was playing before with Denmark Death Metal band Illdisposed from 2014-2024, this was his first very time performance with Hyperdontia. Great live performance with tight sound. Most of the audience was having fun with headbanging all along the set. 
The Vision Bleak, the German Gothic Metal takes the stage, though their performance suffers from a timing issue. The pitch-black, dramatic atmosphere and cinematic horror storytelling that the duo has cultivated for nearly 25 years lose much of their intended impact in broad daylight and shortly after noon. Singer Konstanz tries to counteract this circumstance with proactive and genuinely likeable audience interaction, achieving only moderate success. The band does its very best and has brought along a best-of setlist. The performance quit impressive, great to show them. 
Philadelphia Doom Metal, Crypt Sermon are considered one of the most celebrated acts in epic Doom Metal, which is why their appearance on the Main Stage raises high expectations. The sextet delivers a majestic interpretation of the genre, blending it with a generous dose of classic heavy metal and stoner rock to create an epic whole. The band reinforces their dark aesthetic with an entirely black stage appearance, while frontman Brooks Wilson provides an almost ironic contrast with his white cowboy boots. Wilson leads the set with his powerful, clear voice and dramatic gestures, as the rest of the musicians skillfully balance the songs, which are driven by long, tension-building passages. Was great performance, great sound and brought the audience chill out, relax weil hering some melodious sound come from the Main Stage. 
Move to the Tent Stage to see the German Death Metal from Muenster Heretic Warfare. The Muenster boys seem ready to destroy the Tent Stage. At that time, it was crowded seem alot of the audience waited for them. After a couple of years’ break, because of the lag, of the members 2 time changes the drummer, and also the bass player, now they seem to have found the right one. Perfect sound, the boys are full of energy, even in the tent stage are warm. riffs by riff song by song from the begin till the end of the set, they are played constantly well. A lot of the audience were joined on the tent stage. Tight performance, it was nice to see them here at PartySan open air this year. 
Back to Main Stage, The Americans of Wayfarer present themselves at the festival as a fascinating blend of atmospheric, gothic, and black metal, creating a truly unique sonic landscape shaped by folkloric influences and a dark aesthetic. This Americana-infused concept works surprisingly well even in broad daylight and visibly captivates many attendees, who reward the band with enthusiastic approval. Instead of relying on the usual genre clichés, the musicians tell cowboy western stories in which dark, black-metal frost collides with dusty heat. Their current release, American Gothic, serves as the blueprint for the live performance, which booms from the PA system with technical precision. Although the warm afternoon sun fits the concept perfectly here, Wayfarer are undoubtedly a band that would come across as even more mesmerising in a club setting. 
Hellbutcher, the Black Metal calling the audience to join with them at the Main Stage. Fire came out from the fort stage when the vocalist said Black metal. storms in like a gang of leather-clad outlaws, only these ones traded horses for distortion pedals and dust for sweat and grit. What follows isn’t just a concert; it’s a full-throttle collision of blackened punk chaos and old-school thrash fury. The invitation is clear: dance, headbang, strike a pose, throw your fist into the air—or just lose yourself completely. The band leads by example, visibly revelling in the madness they create, their energy as infectious as it is relentless. It’s a retro 80s metal revival, but not a hollow imitation—this is the real deal, delivered with raw authenticity and a spark that sets the entire room ablaze. At the end of the set, he said, ” Thank you, PartySan, we will be back. 
On the main stage, things stay Swedish, brutal, and old-school: reunited in 2021, Defleshed are gearing up to unleash their classic death-thrash on an ever-growing crowd. That the trio—16-year hiatus or not—never reached the cult or commercial heights of their early-’90s compatriots and genre peers now feels as baffling as it does irrelevant. The band live up to their name, delivering a raw, crushing mix of old crushers like “Stripped To The Bone” and “Fast Forward,” alongside newer tracks such as “Grind Over Matter,” all raining down on the audience with relentless force. What they may lack in onstage agility compared to the previous band, they more than make up for with sheer intensity and an uncompromising groove. Brutally good, but above all, Brutal. Awesome show, great performance. 
Suffocation, the father of Death Metal, next hit the main stage, that is one of the bands I’ve been waiting to see, never bored to see their live performance. The tech-death veterans, Suffocation, are finally back here again after several years, bringing in a new member. And yet—or perhaps because of that—it made no difference to the crowd gathered in front of the stage. The fans stood tightly packed, full of anticipation, ready for what was to come. And they delivered. Maybe not their strongest performance in recent years, even though vocalist Ricky Myers had already breathed new life into the band. But that hardly mattered. Because they don’t follow trends. They deliver what they always have: raw brutality, uncompromising precision, and a dark authenticity that cuts to the bone. When the opening notes of “Infecting The Crypts” finally rang out, a wave of approving nods moved through the crowd. That was a great show, as always. 
Moving to the Tent Stage, Cut Up the Brutal Death Metal from India Gutslit. I have been following this band for a long time ago and have also seen their live performance several times; the band always delivers great shows. It’s nice to see them here at PartySan 2025. At the moment, the Tent Stage is already crowded. Groovy riffs mix with blast beat drums and are followed by growl vocals from the front man, it makes perfect sound, it makes the audience follow the rhythm of the song, headbang, and circle pit continue without stop. Great sound and very tight performance. 
Brujeria the Los Ángeles, California Death Groovy Metal. Despite the painful loss of founding members, co-vocalists, and cousins Juan Brujo and Pinche Peach, the Brujeria collective proves that its mission continues. The muchachos storm the stage to Turbo Lover by Judas Priest—just like Napalm Death the day before, also without Shane “Hongo” Embury—and turn their performance into a tribute to the departed members. This gives the show, amid all the slams and grooving deathgrind assaults, a striking emotional weight. When Brujeria took the stage, they didn’t look like a band weighed down by loss. They looked like a force refusing to stop. Masks on, energy raw, they played as if the past year hadn’t broken them—but reshaped them. Every riff carried memory. Every shouted lyric felt like it belonged to more voices than those on stage. The crowd sensed it too: this wasn’t just another brutal set. It was a ritual. A continuation. At times, the tone turns serious with political topics, such as criticism of Trump’s immigration policies—though wrapped in humour (“Impeach the peach!”). In the end, however, the celebratory mood, including a dose of marijuana devotion, never fades. 
By the time darkness settled over the festival grounds, the air had already changed. The crowd, restless and buzzing, seemed to breathe as one—waiting. When Rotting Christ stepped onto the stage, there was no dramatic pause, no slow buildup. Just sound—deep, melodic, and immediate. It rolled across the field like distant thunder finally breaking overhead. They didn’t chase novelty that night. Instead, they reached into Kata Ton Daimona Eautou, pulling out songs that felt older, heavier—like rituals rediscovered. Each track landed with precision, sharper and more alive than any studio version could contain. The audience followed instinctively. Heads moved, hands rose, voices echoed lyrics into the night. It wasn’t chaos—it was alignment. Nice to see them again here. Their Shows are never a disappointment. 
Welcome back,” one might almost say about the next band, as three-quarters of I Am Morbid (standing—or sitting) were already on the main stage last year with Terrorizer, while David Vincent also appeared with Vltimas. This time, however, the mission of Vincent, Pete Sandoval, and guitarists Richie Brown and Bill Hudson is a different one: to pay live tribute to the legendary portion of Morbid Angel’s back catalogue—primarily the first two albums, as well as Covenant and Domination. And that’s exactly what they do. With “Dominate” and “Where the Slime Live,” they unleash a full-force opening salvo from the fifth album, which celebrates its 30th anniversary this year. What follows are cult classics like “Chapel of Ghouls,” “God of Emptiness,” “Maze of Torment,” and “Rapture”—and even “Fall from Grace” finds its way into the setlist. With a playing time of just 50 minutes, some hits inevitably have to be left out. In the break between songs, the former man talks a lot about how the AI get control of you all. I fully agree with what he’s talking about, and it’s true. 
Anyone who still hasn’t had their fill of nostalgia after that performance gets their money’s worth with Triptykon. While the quartet led by scene veteran Tom Warrior has included songs by Celtic Frost in their live shows since the early days, tonight they perform an exclusive set consisting entirely of tracks from the legendary successor to Hellhammer. Fortunately, this retro show doesn’t turn into a pure ‘80s throwback like Fischer’s tribute project, Triumph of Deathinevitably does. The concert is framed by intro (“Totengott”) and outro (“Winter”) tracks from Monotheist, played from tape, and also features three songs from the 2006 comeback album in the setlist. The opening tones of “Totengott” drifted across the crowd, not as a song, but as a gateway. And when the band struck their first notes, it was clear: this wasn’t nostalgia for its own sake. It was something more deliberate. The set drew entirely from the legacy of Celtic Frost—but instead of feeling like a museum piece, it breathed. Tracks from Morbid Tales and To Mega Therion hit with a force that erased the years between then and now. outstanding performance with crystal-clear sound that leaves nothing to be desired.
