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PartySan Open Air 2026 Preview

The PartySan Open Air 2026, it will be the 30 year Edition. The date has been set; the hell will be open again for three days with of extreme music. It will be on August 06-08, 2026, as always at Obermehler Airfield in Schlotheim, Thuringia, located in the heart of Germany.

PartySan Open Air is one of the largest extreme metal festivals in Germany and is considered one of the most important open-air events in the European metal scene for all fans of Black Metal, Thrash Metal, Death Metal, and their many subgenres.

PartySan Open Air is growing every year; not only did the lineup grow, but so did the audience. The festival grounds are not complicated; there are 2 stages: the Main Stage and the Tent Stage. It is easy to reach by a short walk distance.

PartySan 2026 lineup so far

More Bands will to be announced just check out the running order of all the bands on the link below here: https://www.party-san.de/bands-2026

Tickets: https://www.cudgel.de/produkt-kategorie/tickets/

More Info about Party.San Open Air 2026: https://www.party-san.de/informationen

Map of the Location Party.San 2026

Looking forward to Party.San Open Air 2023 and seeing you soon Schlotheim

⇐ Report | Thursday | Friday | Saturday ⇒

How quickly the time is running without realising that today is the last day of PartySan 2025. Just wake up but still feel tired, as usual, the energy is not the same as the first day we came here, but it’s great, we had a great time and had fun exploring the Festival venue, and also hung out with friends whom we meet every year here at PartySan.

The last PartySan Open Air, the warmest so far, on the main stage kicks off right on time at noon, where German Oldschool Death Metal from Bielefeld, Scalpture hit the Main Stage. The band, which had already impressed in the tent stage in 2022, now brings their thunderous mix, drawing from the European death metal forges of Bolt Thrower, Entombed, and Asphyx to the main stage, armed with their new fourth album Landkrieg. Their sound shifts between crushing, driving force and doom-laden, dragging heaviness with a thick groove. The audience responded differently now. Still moving, still shouting—but with a sharper awareness, as if the performance had shifted from entertainment to statement. was grateful open. Things get noticeably rougher and noisier next with the French band Blockheads—hardly surprising, as the group has been known for over 30 years for their no-frills, in-your-face deathgrind in the vein of Napalm Death and Nasum. Accordingly, the audience immediately launches into action with high energy, not least because frontman and vocalist Xavier Chevalier takes to wild crowdsurfing with a microphone in hand, further igniting the crowd with his enthusiasm. He uses the mic not only for the genre’s typical animalistic vocal acrobatics but also for equally characteristic socially critical and political statements. Song after song blurred together, each one short, fast, relentless. Time didn’t stretch here—it collapsed. Twenty tracks felt like one continuous surge. The band blasts and grinds their way relentlessly through more than twenty tracks, delivering the first full-scale demolition of the day already by midday. Very tight performance. Next, hit the Main Stage, also a French band, Necrowretch, stepping up, the atmosphere shifts. Their blackened death metal brings a thicker layer of hostility to the performance—more biting darkness, more frostbitten intensity typical of black metal, even as fire barrels roar onstage. The contrast is striking: heat and flame against a sound that feels carved from ice. Yet the chill is not only musical. There is a noticeable distance between the band and the audience. Necrowretch perform almost entirely without words beyond the vocals, offering no banter, no breaks in character. It could be intentional mystique—or simply the aftermath of a prior band having already drained much of the crowd’s momentum. Either way, sustaining the energy proves difficult. Still, the band commits fully to its approach. They play with focus and conviction, and the audience responds in kind, even if not explosively. It is a performance that lands, but only just sits above the baseline of expectation. In the end, Necrowretch leave behind a set that feels solid rather than unforgettable—like a winter storm that briefly sweeps through the stage, impressive in form, but fading quickly once it passes. The afternoon heat hangs over the festival grounds as the next band, Death Trash Metal from Belgium Schizophrenia. Who already impressed at the “small PartySan,” the Herbstoffensive, and are now playing the main festival on the big stage. The guys are clearly into it, grinning from ear to ear — singer and bassist Ricky fires up the crowd alongside guitarists Marty and Romeo, while drummer Lorenzo proudly sports his FCK-NZS shirt — solid move. Solid move. The wild show is rounded off with an extremely tight SLAYER cover of “Necrophiliac.” Schizophrenia, you’re welcome back anytime!. Awesome show, very tight performance. Next is The Portugal Slam Brutal Death Metal Analepsy. The band has been active in the scene for over ten years, but today they are performing for the first time at the PartySan Open Air. You can think what you want about Brutal Death Metal, but the Lisbon group knows exactly how to dissect their audience: the riffs are razor-sharp, the slam passages hit perfectly, and the crowd eagerly joins in. The first riff cuts through the air like a scalpel. The drums follow—precise, punishing. Then come the slams, landing with the force of collapsing concrete. The audience doesn’t just listen—they react. Bodies collide, the pit churns, and sweat becomes part of the atmosphere. Was great to see them here, really great performance. Ereb Altor stepped onto the stage. From the very first note, the mood shifted. It was as if a cold Nordic wind had swept across the festival field, silencing the violence without ever asking for permission. Their sound did not attack the audience; it surrounded them. Melodic black metal flowed into epic Viking hymns, while slow waves of atmospheric doom rolled over the crowd like thunder across distant mountains. The recurring clean vocal passages, sometimes performed in three-part harmony, offer a welcome change from the guttural dominance that had defined the day so far, while the quartet’s grand and pathos-filled compositions create an entirely different and deeply impressive atmosphere compared to the sonic wreckage delivered by the previously performing bands. However, despite the band coming across as extremely likeable and being equipped with a massive, crystal-clear sound, there is still the feeling that the show keeps a certain brake on the energy in the infield. Perhaps this is simply due to the Scandinavians’ style, which ultimately inspires reverent admiration and subtle nodding along rather than complete chaos and total crowd eruption. As early evening approaches, though the blazing sun gives no sign of it yet, the festival returns to a band that feels perfectly at home at PartySan: Skeletal Remains. After the audience’s journey through Nordic mythology, the Californians arrive to drag everyone violently back into the here and now, at least to some extent. Musically, Chris Monroy and his crew still keep one foot planted firmly in the late ’80s and early ’90s death metal era. The influences of Obituary, Death, and similar acts have increasingly faded into the background on the band’s last two studio albums, making way for a noticeably more brutal sound. That development is clearly audible in today’s set as well: the band unleashes a barrage of intense blast beats, though not at the expense of sluggish lava-like passages and stomping mid-tempo grooves. Active since 1997 and never before appearing at PartySan for a grindcore institution like Pig Destroyer, that is actually quite hard to explain. This year, however, it finally worked out, and as if the band needed to make up for all the missed opportunities of the past, they tore through their wild and noisy set with unstoppable energy. To truly recognise major differences between the songs here, one probably has to be a dedicated noise expert — or it can simply not matter at all, which is likely the case for most of the partying audience. Pig Destroyer is simply fun; it’s as simple as that, even between the songs. During the stage banter, the crowd learns, among other things, what one can apparently do with a bottle of Jack Daniel’s while performing a handstand. Grave, a legendary name in Swedish old-school death metal, returns to the main stage of PartySan after nine years. What makes tonight particularly legendary is the fact that the band is performing in its original founding lineup, featuring Ola Lindgren, Jensa Paulsson, Jörgen Sandström, and Jonas Torndal. In addition, a classic setlist has been announced, consisting exclusively of songs from the first three albums: Into The Grave, You’ll Never See…, and Soulless. Accordingly, the infield is packed by the time the quartet opens with the title track from their debut album. Ola Lindgren, who had served as the band’s frontman for many years, stands to the side tonight and leaves both the central role and vocal duties to bassist Jörgen Sandström. He handles the task confidently, covering up the fact that things occasionally not only rumble but also stumble with dry and disarming self-irony. As a result, the band even manages to squeeze in the closing song, “…And Here I Die…Satisfied” from the EP of the same name, despite having already run out of time. All fans of the Stockholm school of death metal, and judging by the massive crowd, there are certainly plenty of them, get exactly what they came for and turn Grave into the secret headliner of Saturday. No less legendary and equally Swedish, though having turned away from the more extreme metal styles toward gothic rock decades ago, are the next band to take the stage: Tiamat. However, while Grave earned euphoric reactions with their nostalgia-driven performance, this show is likely to have left even devoted fans feeling disappointed. The appearance and stage performance of frontman Johan Edlund seem almost suited for a carnival attraction, somewhere between a freak show, a haunted house, and an esoterically inspired fortune teller. Although the instrumentalists deliver a solid musical performance, they are unable to counterbalance the bizarre and at times simply embarrassing behaviour at the centre of the stage. As a result, the Metal1 crew eventually decides to retreat and conserve energy for the rest of the evening. In the aftermath, numerous die-hard fans around the campsite are said to have expressed their disappointment over this memorable, though not necessarily for the right reasons, performance. Gorgoroth celebrate their premiere at the airfield in Obermehler tonight, as Infernus and company last appeared at PartySan back in 2007, still in Bad Berka and still with Gaahl on vocals. While the setlist offers few surprises — for the true Norwegian black metal veterans, it has remained more or less the same for over a decade now- Gorgoroth often manage to surprise people through the lineup of musicians who may or may not appear on stage. Tonight, however, it is vocalist Hoest handling microphone duties, something that had already been announced beforehand. And he handles it in the most literal sense possible: as if trying to compensate for the one-frame flipbook stage acting so often associated with black metal instrumentalists, the heavily studded frontman storms enthusiastically across the stage throughout the performance. Meanwhile, the main stage itself is kept relatively simple, decorated only with a basic logo backdrop. Yet nothing more is really needed — combined with the blazing fire barrels and the deep red lighting, the result is a fitting and highly effective stage atmosphere. In that sense, it almost feels appropriate that Gorgoroth end their set after only 50 minutes despite having been given a full 60-minute slot. The closing act, not only of the final night, but of the entire PartySan 2025 is the Swedish-British death metal joint venture Bloodbath. With singer Nick Holmes alone, the band has already performed in Schlotheim three times, which naturally invites comparison. Today, the only remaining founding member, Anders Nyström, handles guitar duties alone, while Jonas Renkse has been replaced on bass by Joakim Antman of LIK. Nick Holmes himself — previously seen dressed in priest robes or a sharp suit — appears this time in the same casual outfit as his bandmates… or even the stagehands from the changeover. As a result, the performance also feels somewhat subdued. Perhaps Nick Holmes is still feeling the strain of the journey from the Czech Republic, where he performed with Paradise Lost at Brutal Assault Open Air the day before? Of course, he still delivers his usual dry humour between songs, and of course, the tracks themselves — from the opener “So You Die” from the 2002 debut to the inevitable closer “Eaten” from the heavily featured Nightmares Made Flesh — remain fundamentally enjoyable, not to mention performed with technical precision. And of course, the infield is still fairly well filled with celebrating fans despite some thinning areas. Still, the impression remains that Bloodbath are largely operating on autopilot, running through a routine set rather than truly igniting the stage. It remains a solid festival closer, but overall it feels somewhat — pardon the expression — bloodless, and will likely go down as only the third-best performance the band has delivered in the festival’s history at the airfield.

PartySan, what a great weekend, how fast the time is running, not realised it was already the end of PartySan 2025, now we must wait one year to be here again. See you next year.

⇐ Report | Thursday | Friday | Saturday ⇒

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.

⇐ Report| Thursday | Friday | Saturday ⇒

The Hell is open that was on the Gage when you enter the PartySan Venue, where almost every most of visitor takes photos every year. It’s nice to be here again, it didn’t make much difference, as like the previous of last year. PartySan Venue are not complicated, it’s easy to access everywhere. The main stage surround of the Food and Merchandise stand and the Tent Stage, this year the beers are the same price as last year, only the food is a little bit higher than last year. As usual every year, one hour before the event starts, 3 time the Canon shoot up 3 times in the sky.

Main Stage

The opening band is gonna play today. At the Moment in front of the main stage, the audience is already waiting for the first band of 29 edition of PartySan 2025. quite crowded at the moment for the first band. Rotpit is the German Old School Death Metal sound of low tune and traditional riffs and beats of traditional Death Metal. The audience seemed to enjoy the show, a great band opening on the first day of PartySan Open Air 2025, and a lot of the audience showed up. Great stage performance for the opening band of PartySan Open Air 2025.

Next, the Slam Brutal Death Metal from Belarus hit the main stage. Extermination Dismem Berment hit the main stage. Time for a Slam Party. Your head will go up and down and jump while following the groove Riffs. I have been following this band since the beginning, and have shown them in many other festivals before and finally they are here. delivered uncompromising slam/brutal death metal. Frontman Vladislav’s appearance, muscle-bound in a tactical vest and jogging pants, conveyed the message. The band presented their material with precision and power, featuring downtuned guitars, even deeper growls, and triggered drums. The singer, in particular, demonstrated great stage presence, constantly engaging with the audience. When the groove Riff comes up all the whole audience moves up and down, and in the middle of the stage ground there is a circle pit continually without ending. Always great to see them on the Stage.

Next up was a band from somewhere and Oceans. I’d never heard of And Oceans before, but their performance was a surprise. They had catchy riffs and tight blast-beat drums bursting with a lot of energy, reminiscent of old-school Brutal or Brutal Death Metal mixed with Black Metal. It is impressive, symphonic music can be both powerful and experimental at an extreme metal festival, especially when executed with such a solid and convincing sound. The band’s performance is dynamic. It was a surprise and great to see them live,

The Spirit, A Melodic Black/Death Metal Band from Germany, Saarland, has been upgraded to this slot, where they played before at Tent Stage, with an incredibly intense Show a few years ago. Expectations are correspondingly high, and a large fan base gathers in front of the main stage. The band immediately and impressively demonstrates the outstanding reputation they’ve earned within their genre and proves they can handle the big stage. With the fire effects on the main stage, the flawless performance by the southwestern Germans, featuring furiously snarling vocals, adds even more excitement and creates a goosebump-inducing atmosphere, incredibly captivating and gives the audience a relaxing. Dool, a Rock Band from the Netherlands, bring the atmospheric sound mix of Rock, Doom, and Progressive elements, brushed with a Gothic melancholy layer into their music. The Band performs with strong emotion and confidence. Their music moves between quiet and loud parts, pulling the audience into a deep, almost like a dream. With three guitars on stage, the band builds a wall of sound that feels heavy and complete. Even though that is not my kind of music style, I listen to it, but it’s nice to see that the performance is really great and emotional. The Swedish veterans old Rock Metal Grand Magus. Many of the audience who like classical music are waiting for them. delivered a hefty dose of heavy meta, which offered a diverse range of styles. The Stockholmers, who have fought hard for their place in the scene, presented a small cross-section of their work, and following the band. There was something missing from the sound which the singer had least come up and also at the time it was windy, but the band played with tight musicianship, and the audience seemed to enjoy the performance. This performance was the second one after the band’s long break, but they delivered a tight and enjoyable performance, and the audience seemed thoroughly pleased. Next is Italian Black Brutal Death Metal, Fleshgod Apocalypse, Known for their theatrical stage presence, with Brutal and Melodic atmosphere combined together becomes such a great Dynamic sound. One of the bands on my list I’m waiting for today. Before, they were focusing only on growl vocal singing and as background with clean vocal singing, but now it has changed with growl and clean vocal singing combined, together sounds very interesting. The staging is thoroughly theatrical and designed in keeping with their latest full-length album. The blend of brutal tech death, intricate riffs, and Bordacchini’s vocals is a unique and polarising characteristic. The stage ground is getting full and full. As tradition, the singer said Let it make a wall of death and massive circle pit in front of the Main Stage. Great performance was great to see them here after a long time, I didn’t see them live. After a faster band, now time Harakiri From The Sky, the melodic Death Metal band from Austria, with barking vocals and melodious riffs, it’s not the kind of music I listen to, but I did show them a long time ago in some other festival. The band seemed to blend elements of rock, black alternative and death metal. The band brought a deeply melancholic shift in mood; it was the right slot they played, which perfectly complemented the atmosphere at Sunset. The band’s aggressive melancholy was underscored by a touch of pyrotechnics and made even more sublime by the excellent sound. It was a fully emotional performance. The time has come for the Lagen of Grindcore band from the UK, Napalm Death, the second band before the last band at PartySan Open Air on Thursday. Most of the audience is waiting for this band. Nice to see them again after so long didn’t see them. During between break, the singer talks about politics, why they hate anyone, it should not be like that and talks about the German Party AFD. The performance is characterised by unbroken ferocity, dissonance, and the typical punk influence that represents grindcore in its purest form, even though the band has long since transcended that genre alone. Massive circle pit in front of the Main stage and chaos with the audience crowd surfing continuously, which keeps the security keep busy. That was an outstanding, uncompromising, and simply awesome performance. Finally, the legendary Thrash Metal band from California, Dark Angel, will be the high liner. The centrepiece of their set is a complete rendition of their 1986 classic “Darkness Descends,” primarily serving as a tribute to their own history. The band delivers a powerful and precise performance – no surprise with “Atomic Clock” Gene Hoglan behind the drums – with a brutal and, once again, excellently mixed sound. The guitarists also shine: Laura Christine has stepped in for founding member Jim Durkin, who passed away in 2023, and her technical proficiency, relentless riffing, and stage presence prove her to be the perfect replacement. Singer Ron Rinehart, meanwhile, delivers a powerful and voluminous performance, demonstrating in his stage banter that he also has the audience’s support. The band provides a masterclass in old-school thrash metal, but the crowd thins noticeably who, despite all the nostalgia. It was nice to see their performance was very impressive.

It was a great day today, saw the band play all day long, which all the bands are supported by the audience. now time relaxing, hang out with some friends before hi the band, save the énergy for tomorrow,

PartySan 2023 Flayer

PREVIEW OF PARTY.SAN
OPEN AIR 2025

We’re still basking in the memories of last year’s PartySan Open Air, and the excitement for this year is already kicking in! If you’re craving top-tier metal, the PartySan Festival is an event you can’t afford to miss. From August 7th to 9th, 2025, the airfield in Schlotheim will once more become the beating heart of the metal scene. PartySan Open Air is back, drawing metalheads from around the globe for three days of legendary performances, relentless headbanging, and an atmosphere unlike any other.

This year PartySan Open Air brings back some great bands like Suffocation, Bloodbath, Napalm Death, Brujeria, Rotting Christ.

.SO FAR THE LINEUP OF PARTY.SAN 2025

More Bands will to be announced just check out the running order of all the bands on the link below here: https://www.party-san.de/bands-2025

Tickets: https://www.cudgel.de/produkt-kategorie/tickets/

More Info about Party.San Open Air 2024: https://www.party-san.de/informationen

Map of Location Party.San 2024.

Looking forward to Party.San Open Air 2023 and seeing you soon Schlotheim

⇐ Report| Thursday | Friday | Saturday ⇒

⇐ Gallery | Thursday | Friday | Saturday ⇒

PartySan Open Air Report Thursday 08.08.2024

I woke up feeling energized after a long sleep. I think the beers helped me get a deep rest, and this morning was even warmer than yesterday. As usual, I grabbed some breakfast and met up with a few friends before heading to the Main Stage.

The final day of PartySan 2024 kicked off with the opening band, Ulthar, a US extreme metal trio. It was a bit confusing since today there are two bands with almost identical names—Ulthar and Ultha, one with an “R” and one without. I’m not too familiar with Ulthar, as I’ve only listened to a few of their studio tracks. Their sound has a mix ofBlack, Death, and Thrash metal—dark, fast, and unforgiving. The riffs rolled out alongside the pounding drums, making for a solid warm-up. Although there were still some gaps in the crowd, their energy was high, and the headbanging was intense. The audience cheered and clapped after each song, making it a great performance for such an early set.

Regarde les Hommes Tomber made their PartySan debut, and although their performance was solid, I wish they had attracted a bigger crowd. The audience was a bit sparse, which was disappointing, especially since the Germans had to deal with the “black metal in full sunlight” situation.

Next up was Necrot, a California-based death metal trio. I had seen them perform the previous week at another festival. They bring a raw, filthy, old-school death metal sound—no unnecessary frills. The snare drums rattled with reverb, the guitars shredded, and the bass rumbled intensely. Luca Indria’s passionate growls and grunts added to the atmosphere, and when he asked stage security to do a diva move during “Drill The Skull,” the crowd responded eagerly. Anotherawesome performance that left me excited to see them again.

Ultha, the band without the “R,” faced some technical issues during their set. The vocals were barely audible for much of the performance, which was a shame, as those high-pitched vocals are part of what makes Ultha stand out. The sound improved later on, but it wasn’t their strongest show.

After that, it was time for some black and death metal from Poland with Hate, a band I’d been eagerly waiting to see live for the first time. I’ve followed them for years, and their music always feels like a form of therapy. Seeing them live took that feeling to a whole new level. Despite the harsh sunlight, their powerful, aggressive sound and Adam The First Sinner’s dark, raspy vocals created a perfect atmosphere. The set alternated between fast, intense passages and more solemn, ethereal moments, particularly during “Crusade: Zero,” where fire bowls were lit in dramatic fashion. After over thirty years, their professionalism and intensity were unmistakable.

Unto Others, a U.S. Gothic metal/rock band, has generated quite a bit of hype since their inception as “Idle Hands.” Personally, I’ve had a hard time getting into their sound, especially their monotonous vocals, but I was curious to see if their PartySan performance would change my mind. Unfortunately, it didn’t. The vocals were even harder to enjoy during this set, with several missed notes. The guitarist and drummer also made a few mistakes. This performance justdidn’t do it for me.

Next up was Sulphur Aeon, the masters of Cthulhu death metal, returning for their second time at PSOA since 2016. Their epic material, including tracks from their latest album Seven Crowns and Seven Seals, was another highlight of the day.

As evening approached, Obscura took to the Main Stage, performing in the beautiful setting of the late afternoon sun. Sadly, the crowd seemed a bit thinner compared to Sulphur Aeon’s set. Nonetheless, the band delivered a stunning performance of progressive death metal, with six extended tracks showcasing their brilliant melodies and technical mastery. ‘The Anticosmic Overload’ and ‘Septuagint’ were particular standouts, and ‘Incarnated,’ dedicated to Chuck Schuldiner, closed out their set in fine form. My only complaint was that the audience’s response felt underwhelming given the high caliber of the performance.

Over at the Tent Stage, the death metal onslaught continued with Disentomb, an Australian band that I was unfamiliar with before. Their low-tuned guitar riffs and brutal drumming, coupled with guttural vocals, made for a heavy, intense experience that was perfect for the tent stage.

Dutch death-thrash legends Legion of the Damned unleashed their trademark ferocity upon the Main Stage. They commenced with their iconic anthem “Legion of the Damned” and stormed through an extensive setlist drawn from albums such as Cult of the Dead, Doom Priest, and Son of the Jackal. Their performance was a tempest of unrelenting intensity, reaffirming their formidable status as a dominant force in the realm of metal.

Anaal Nathrakh, a UK-based ensemble renowned for their tumultuous amalgamation of grindcore, black metal, and industrial, consistently orchestrates an indelible experience. Their incendiary performance ignited the crowd, exemplifying their prowess in crafting an unforgettable spectacle with every show

Next up on the Main Stage was Paradise Lost, the legendary British gothic doom pioneers. Their set featured timeless tracks like “Pity the Sadness” and an unexpected cover of “Smalltown Boy,” highlighting their skill and Nick Holmes’ upbeat energy. While it was a strong performance, it may not have been as intense as some of the others.

To wrap up the night, Sodom, the legendary German thrash pioneer, took the stage as one of the few bands that not only helped define an entire genre but continue to remain relevant today. Their performance was filled with timeless hits like “Blasphemer,” “Napalm in the Morning,” and “Ausgebombt,” and the audience was fully immersed, singing and headbanging along with Tom Angelripper. Witnessing thousands of fans rocking out together in perfect unison was truly unforgettable. These veterans show that age is just a number, with a stage presence that makes even the younger crowd seem like rookies.

PartySan Open Air 2024 was an electrifying journey through every extreme of metal. From stunning rainbows to relentless sonic brutality, it had something for everyone. The mix of iconic bands, hidden underground gems, and the unmatched festival atmosphere made this weekend an unforgettable experience—a true milestone in the history of extreme metal. See you next year!

Story By Mirko van der Veen and Nova

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PartySan Open Air Report Thursday 08.08.2024

The morning sun gently wakes me up, casting a warm glow over everything. Outside, a lot of people already doing activities for the second day of PartySan. I decided to keep things simple for now—just a quick breakfast to fuel up and get some energy before the party starts.

On Friday, early in the midday, Goregrind, a Brutal Death Metal opener band, took the stage—it’s a PartySan tradition. Then came Stillbirth, a Brutal Death Metal/Grindcore band from Germany. Five Beach Boys in neon Hawaiian shirts seemed ready to kick off the morning party. The venue was packed with an energetic crowd, many dressed in colorful and eccentric costumes, all set for the festivities. The midday sun, while rarely shining on quirky toilet brushes or overly embarrassing outfits, still brought a lot of heat, which matched perfectly with the energy on stage. The band from Hagen stormed across the stage in their swim trunks, surrounded by surfboards, showing no signs of slowing down. Their infectious energy spread quickly to the tech death fans, sparking wild running and plenty of knee-bouncing. It was the perfect start to the day.

Continued with The Melodic Death Metal from North Rhine-Westphalia, Germany Obscurity. They offer melodic Viking stuff somewhere between death and black metal. And with German lyrics. There are now more fewer people in front of the stage than before. Great sound great live performance for early midday.

Enthroned, Enthroned, the Belgian black metal band, delivered a retrospective. The sun continues to darken over Schlotheim, and even though the corpse paint isn’t fully visible in the early afternoon, the Belgians bring an icy cold with them. Their stage presence is captivating, and singer Nornagest in particular guides those present “gracefully” through a predominantly modern set, while not shying away from delving into the early days of the band with a song like “Rites of the Northern Fullmoon,” a track from a time when none of the current musicians were yet in the group. All in all, it was a very intense concert that impressively brought the brutal yet quite playful music of the band into the present.

Afsky brought a certain depth to the set with their melancholic, atmospheric black metal, causing goosebumps moments, while the dark clouds over the grounds continued to gather. After that, things turned more classical: Sacramentum unleashed their clashing melodies that echoed the second wave of black metal. Bewitched (SE) then hit with a wild mix of thrash, black, and heavy metal, delivering a show full of attitude and pure energy.

Sacramentum! Another semi-legendary name from the incredible Swedish mid-’90s Black/Death Metal scene that gave us so many fantastic bands! These veterans have released at least two classic albums, Far Away from the Sun and The Coming of Chaos, both of which were featured in their set. The sound was spot on, though the over-the-top stage antics of frontman Nisse raised a few eyebrows.

Bewitched, Black’n’Roll from Sweden. There is no other corpse paint, however. Musically, it sounds about as I had imagined. Well-made old-school thrash with a certain Venom influence would fit perfectly on a tour with Desaster. The band also seems pretty likable. Frontman Vargher is happy to finally be able to play at PartySan Open Air again after 17 years. The road to this was rocky, however, as all of their luggage, including instruments, was lost by the airline andtoday’s gig is being played with equipment borrowed from fellow countrymen Sacramentum. At least the black thrashers in attendance appreciate the persistent show and veritable mosh cells develop. A bit of sparks here, a few flames there and the stage set is already in the mood for an evening of really big show elements.

Now it’s time for a good portion of slam with Kraanium. To be honest, I was pretty surprised that Kraanium got such a late start. The space in front of the stage is still pretty empty at the beginning. But after the frontman asks people to come a little closer to the stage. The sound is also rather suboptimal at the very beginning. The microphone is generally too quiet and when there is a brief dropout during the first song, only the drums can be heard for a moment. Fortunately, the mixer adjusted to slam relatively quickly, so it soon sounds a lot better. The atmosphere also has some teething problems, but a larger pit quickly forms in the middle. Their intense, straight music entices even the lazy to nod their heads and do circle pits. Live singer Philipp Heckel, with his NAGLFAR shirt, does not fit in visually with the otherwise almost illegible logos on the shirts of his bandmates, but he cuts a very good figure on stage and gurgles. “Massive Piles Of Festering Remains” in the familiar guttural style. Great performance.

Incantation. Nasty, groovy riffs shake the Obermehler airfield. A grunting gnaws into your ear that only death metal bassist John McEntee can manage. It’s no surprise that dark clouds collide and the main stage is underwater in no time. In the end-time scenario that fits perfectly with the Incantation blasphemous death metal. Meanwhile, the last remaining spectators enjoy mosh pits, dances, and a water fight. But let’s not forget the rainbow of death, which is currently stretching across the Party. San in doubly evil splendor. It’s cute how the hard-boiled people suddenly let their romantic streak show. The glowing natural phenomenon is certainly the most photographed motif today and the secret (rock) star of the evening. If only we knew what really lurks at the end of the dazzlingly colorful spectral arcs …

There were years of court proceedings, but now the legal dispute over the name Batushka is over – and with it one of the most ridiculous stories in extreme metal. No matter, now, Batushka is on stage. Behind the mask: Krzysztof Drabikowski and his ensemble. In total, we count eight people standing between pictures, clothes, candles, and a coffin placed in the middle. The backdrop with trees and a church creates a nice visual depth that works, especially in red and orange light. The ceremonial prelude is already strong, even if twilight or darkness would support the mood. At least the rainbows have faded away, the unicorn atmosphere does not hinder the occult sounds. Maybe we can put the arguments aside and appreciate what is happening musically. Because the performance is convincing in its entirety from the stage design to the clear vocals. They were, very different from all other bands. Black Metal with orthodox liturgical lyrics reigned the stage. The show was a real gem and a kind of Black Metal Musical. Great indeed.

Sólstafir, The Icelandic Psychedelic Alternative Metalist delivered a great show with an emotional, atmospheric performance, a brilliant web of sound that lets you dream away into landscapes of ancient countries,

Behemoth, 9 years since their last PSOA performance the Polish Black Death Metal giants finally returned! In perfect sound with great light- and, of course, a fire effect show followed by a mystical Intro behind a white curtain, Nergal and crew blasted out classics like „Conquer All“, „Demigod“ or „Chant for Eschaton 2000“ as well as some new material from their 2022 opus „Opvs Contra Natvram“. A worthy Headliner on this Friday.

The second day of PartySan Open Air was flying by, with many amazing bands performing on both the Main and Tent stages. Heading back to the camping ground to rest and save energy for tomorrow

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PartySan Open Air Report Thursday 08.08.2024

After a long year of anticipation, we’ve finally returned to Schlotheim, Obermehler Airfield. It feels like coming back home, and it’s even better than we remembered. This year’s lineup is packed with even more Black Metal acts than last year, promising a heavier experience right from the start.

The journey to PartySan was smooth, taking about five hours with no delays or traffic jams. Once we arrived at the PartySan camping ground, everything looked exactly the same as last year—no surprises there. We picked up our press passes and set up our campsite without a hitch, avoiding long queues, which was a nice touch. PartySan typically attracts around 9,000 to 10,000 metalheads, but since the airfield is so spacious, there’s no feeling of overcrowding, making it a comfortable festival experience. Each year, the number of visitors steadily grows, and it’s exciting to see the event’s popularity continue to rise.

After pitching our tent, we headed straight for the Stage ground, where we met up with some friends. We cracked open our first beer of the weekend, soaking in the familiar atmosphere of excitement. As usual, the energy was high, and the crowd was buzzing with anticipation for the opening band.

Then, just like every year, the moment arrived: two loud cannon shots echoed across the airfield, signaling the official start of the party. Everyone cheered, and the festival kicked off in full force. The air was thick with excitement, and the atmosphere was electric, setting the stage for an unforgettable weekend ahead.

Swedish death metal band Bastard Grave opened the night with a stellar performance that blended old-school death metal with a touch of doom, filled moments caught the audience’s attention right away. The crowd, which filled the venue even at an early hour, was thoroughly engaged from the moment the band hit the stage. Their performance was a perfect start. The energetic and tight set left a lasting impression.

Sinister hit the main stage next, bringing their Dutch Death Metal energy to replace Broken Hope, who had to cancel. I had seen them just last week at Dortmund Deathfest, and they didn’t disappoint. The performance was solid—heavy, fast, and tight—but something was missing. After a while, it felt like the same thing over and over. I enjoy the aggression, but I would’ve liked a bit more variety in their set. The crowd seemed to feel the same way. As the show went on, more and more people left the front of the stage. Part of that might have been due to the small stage under the tent, where the first band of the year was about to kick off. But still, Sinister’s performance didn’t seem to grab everyone the way it should have. It was their first time playing PartySan Open Air in 22 years, and while they gave it their all, I couldn’t shake the feeling that they needed a bit more. A second guitarist could have added more depth to the sound and kept the energy up. The performance was good, but it didn’t quite blow me away.

The sun was setting on the open-air festival, and after two crushing sets of Death Metal, the crowd was ready for a change. Eternal Champion from Texas took the stage, bringing a classic Heavy Metal sound that cut through the atmosphere. Jason Tarpey commanded the stage, blending his powerful voice with some signature stage antics, barking and shouting with intensity. Although I’ve always admired Brendan Radigan from Summerlands for his vocal chops, there was no denying that Tarpey’s charisma and energy won the night. The vibe was infectious—people were rocking out from the front to the very back, making it clear that Eternal Champion had absolutely delivered.

Quickly move to Tant Stage cutching the Old Schooll Death Metal Wilt, come from North Rhine-Westphalia, Germany, and play slightly doomy death metal in the footsteps of Bolt Thrower or Asyphyx. Singer and bassist Matze impresses with ultra-deep growls, which you can hear. The rest is unfortunately a bit of a mess. The bass is much too loud and the guitar is almost inaudible. It also sounds a bit like there are some noises running through the system underneath the actual music. It’s a real shame because what I can hear from the sound mush doesn’t actually sound bad at all. But since even changing locations several times doesn’t really improve things, I move back to the main stage after 20 minutes. It’s a shame, I can imagine that the trio could have convinced me a little more with better sound.

Vltimas, the bold multinational ensemble, delivers an awe-inspiring fusion of Nordic Death Metal enriched by the iconic growls of David Vincent, best known as the frontman of Morbid Angel. Their sound fuses the primal essence of death metal with intricate, atmospheric arrangements, creating a listening experience that is as musically technical as it is emotionally intense. Their work doesn’t just reside in the music alone; their live performances bring something visually striking to the table, adding an unforgettable theatrical flair to their already captivating sonic presence. Each show is a meticulous balance of energy, passion, and visual storytelling that pulls the audience deeper into the band’s dark world.

After a 17-year hiatus, Sadus, North America’s thrash metal titans, exploded back onto the scene with a vengeance. With no signs of slowing down, the band not only picked up where they left off but accelerated to even greater heights. Their technical prowess, combined with their lightning-fast riffs, took the crowd by storm, leaving a trail of chaos in their wake. The performance was a testament to their relentless drive and dedication. Their set was a finely-tuned machine of speed and precision, each song executed flawlessly. From the opening note, the crowd was swept into an uncontrollable frenzy. Mosh pits erupted throughout the venue, fueled by the raw energy of the band’s high-speed thrash anthems.

The Black Dahlia Murder, hailing from Detroit Rock City, closed out the afternoon with an electrifying performance of Melodic Death Metal, leaving the crowd in awe. It was incredibly moving to witness the band still delivering at such a high level, especially following the heartbreaking loss of their iconic frontman and mastermind, Trevor Strnad, in 2022. His absence hung heavy, yet the band’s dedication to carrying forward his legacy was evident, with each note resonating with passion and respect. The energy and skill on stage were a testament to the enduring spirit of their music, solidifying their place as one of the genre’s most revered acts.

As the night stretched on, a palpable energy filled the air, promising an unforgettable evening. Left To Die opened the floodgates of destruction with their brutal homage to death metal’s most iconic sounds. As the first chords ripped through the speakers, the crowd erupted, their heads bobbing and fists pumping to the thunderous riffs. With every song, the band’s intensity seemed to grow, their high-energy performance filling the venue with pure aggression. The guttural vocals and relentless rhythm section were a perfect tribute to death metal’s roots, and it didn’t take long before the pit became a swirling vortex of body-slams and moshing chaos. The night had truly begun.

But it was only the beginning. Darkened Nocturn Slaughtercult took the stage next, and with them, a shift in atmosphere as chilling as a midnight breeze. The first notes of their black metal ritual were slow and haunting, deliberately building tension. As the fog crept across the stage, the crowd was drawn into a trance-like state, where every chord seemed to reverberate in the chest, and the cold, tremolo-picked melodies wrapped around them like a dark cloak. The drums, fast and relentless, gave a heartbeat to the sinister atmosphere, while the shrill, biting vocals of the frontwoman sent a shiver through the spine of every listener. Heads banged in a synchrony as the audience was enveloped in the icy grip of black metal. The ritual was complete when the last, echoing note faded into a chilling silence. The crowd, almost in a daze, stood in reverence.

Then, with the clock ticking closer to chaos, Terrorizer tore through the night like a furious storm. The grindcore legends came on with no preamble, launching immediately into a brutal, breakneck pace. The intensity was unrelenting, and the crowd, no longer just a sea of people but a thrashing, writhing mass, responded in kind. The relentless barrage of blast beats and ferocious guitar riffs created a sonic whirlwind, pushing every listener to their limits. Bodies collided in the pit as crowd-surfers flew overhead, all swept up in the chaos of pure, unfiltered aggression. There was no respite in their set, only an unforgiving wall of noise that seemed to consume everything in its path. The energy felt almost destructive, as if the very floor beneath them might buckle under the weight of it all. Terrorizer wasn’t here to entertain—they were here to incite a riot, and the crowd gladly obliged.

But even in the heart of this madness, there was still one act left to leave the crowd breathless. As midnight approached, Abbath took the stage, bringing with him a spectacle that transcended just music. The fog rolled in thick, obscuring the stage in an eerie haze, and then the flames erupted—blazing, towering, casting shadows on the darkened crowd. Abbath himself appeared as a towering figure, his face painted and his presence magnetic, commanding attention without saying a word. His black metal symphony unfolded with grandiosity—epic, atmospheric, and intense. His signature growls and soaring melodies intertwined in an almost operatic fashion, rising above the fire and smoke to envelop the venue in a mighty sonic wave. With every riff, the flames grew higher, and the crowd became even more entranced. It was a perfect storm of sound, spectacle, and stagecraft, a true culmination of the night’s offerings. The energy reached its peak as Abbath led them into a final, thunderous crescendo—an unforgettable moment that left the crowd in awe.

As the last embers of fire burned out and the final notes of Abbath’s set echoed through the venue, the audience stood in stunned silence, caught in the aftershock of the evening. The first day had come to an end, and it was clear: this was a night to remember, an evening where metal legends met in a furious, thrilling display of sound and fury.

It was the first day at PartySan, and amazing bands played all day long. From the moment the music started. I spent the rest of the evening relaxing with friends at the camp ground, enjoying the great company and the festive vibe. The night was filled with laughter and good times before I finally hit the bed, exhausted but happy from an unforgettable day.

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PartySan 2023 Flayer

PREVIEW OF PARTY.SAN
OPEN AIR 2024

The gate of hell will open soon, Party.San Open Air 2024. One of the Extreme Music Festivals in Europe. The most fans of Metal Extreme are waiting for it every year, It will take place from August 8th to 10th, 2024. in Schlotheim at the Obermehler airfield Thuringia.

The Party.San Open Air Organizer always takes great bands, in the genres of Death Metal, Brutal Death Metal, Black Metal, Doom Metal, and Grindcore from around the world. When we look at the Party.San Open Air Billing 2024 is a completely insane killer lineup you will be not disappointed.

One or the other cracker has already been announced. Let’s start with the bigger bands and work our way down the billing.

SO FAR THE LINEUP OF PARTY.SAN 2024

Abbath | Afsky | Akhlys | Alkaloid | Anaal Nathrakh | Bastard Grave | Behemoth | Bewitched | Blood Fire Death | Broken Hope | Cloak | Cryptopsy | Darkened Nocturn Slaughtercult | Disentomb | Enthroned | Eternal Champion | Grave | Hate | Heretoir | Horresque | Imha Tarikat | Incantation | Iron Walrus | Konvent | Kraanium | Krzysztof Drabikowski’s Батюшка | Left To Die | Legion Of The Damned | Malphas | Mephorash | My Dying Bride | Necrot | Non Est Deus | Obscura | Obscurity | Phantom Winter | Regarde Les Hommes Tomber | Ritual Death | Rope Sect | Sacramentum | Schammasch | Sodom | Sólstafir | Stillbirth | Sulphur Aeon | Terrorizer | Ultha | Unto Others | Varathron | Vorga | Wilt.

More Bands will to be announced just check out the running order of all the bands on the link below here: https://www.party-san.de/bands-2024

Tickets: https://www.cudgel.de/produkt-kategorie/tickets/

More Info about Party.San Open Air 2024: https://www.party-san.de/informationen

Map of Location Party.San 2024.

Looking forward to Party.San Open Air 2023 and seeing you soon Schlotheim

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PartySan Open Air Report Friday 18.08.2023

Beautiful morning, full of energy, seems like I had a nice sleep last night, and also the weather is perfect. I am excited about the band gonna play but before that let’s get some breakfast and do a checklist with the band I want to see. It is quite hard to decide which band I want to see because some bands I know and some I don’t know let’s see what happens letter, it can be surprising.

As usual at PartySan on Friday, the opening band is always some Grindcore, Goregrind band which means there will be to a big party soon at Main Stage, this time the Goregrind Brutal Death Metal band comes from Belgium, Brutal Sphincter. with two frontmen with two different characters, their music very catchy, groovy heavy mix Hardcore, Punk, Death metal Grindcore, Goregrind. Massive circle pit without ends at from row of the main Stage which wearing many kinds of funny Costumes. Balls, toilet brushes, and toilet paper flying in the air. It was a great show and a great party for the early day.

Next Melodic Death Metal from Australia Be’lakor. Heading all the way from Australia this Melodic Death Metal Outfit is the second band on the main stage on Friday. The band chose this early slot themselves as their touring schedule takes them up to Finland right after this show. Their mix of atmospheric and sometimes progressive Melo Death went down really well with the crowd, the sound was clear and powerful. The epic „Countless Skies“ closed off a really good but too short set, hope these guys come back soon!

Next up was the German Old School Death Metal band Endseeker who already played in the Tentstage
back in 2018, so this year they conquered the main stage, and well deservedly after 3 very solid albums! Their catchy and energetic HM2-driven Death Metal style in very loud and massive sound won over the crowd immediately, as did their likable frontman Lenny with his lunatic stage presence! he served up the appropriate texts for the intermezzo. What is impressive, however, is that they are getting better and better on stage thanks to the experience they have gained over the last few years. The very likable gang offered a nice and groovy performance that seemed to me like a successful hybrid of Bolt Thrower, Benediction, and US-Old-School Death

Yoth Iria The Dress Black Metal, hit the main Stage one hour early as scheduled because Mantar will not be performing for health reasons, Grave Miasma will replace at 9 p.m. The Greeks have released an EP, a split, and a studio album. Most recently the record As The Flame Withers – there’s no need to talk about the motivation. Frontman The Magnus goes all out and destroys his microphone on his trip from the stage to the audience. Rolling wildly across the stage, he is completely in his element. The presentation of the new black metal institution is not bad, with the classic Corpse Paint Eye Catcher. The sound is dark and full of doom elements that stay positive in your head. Great performance.

Kanonenfieber the Blackened Death Metal from Bamberg Germany, with a Large Zeppelin backdrop, it’s time for cannon fever from Bamberg. The southern Germans jump back to the time of the First World War. Founded by Noise, he pulls all the strings on the project and only receives live support. The Baptism of Fire, Fat Bertha, and The Battle of Tannenberg are received hungrily. In the last few months, the group around the mastermind has been able to make a name for itself as a top live actor and confirms this trend directly on the battlefield in Schlotheim. The atmosphere is frosty, the songs leave their mark and yet you can still speak of a really strong gig. The topic has its hard sides that cannot be glossed over. Trench Songs and The Fusilier place their dirty finger deep into the already festering wound. You should have cannon fever on your radar if you like German lyrics that sing about historical war chapters. The popularity is justified, the show, despite the live line-up, is a strong and awesome performance.

The Norwegian Black Metal Urgehal. It was delayed about 15 minutes, however, the entire stage set was changed twice in a very short space of time. Things have become damn quiet around the Hønefoss squad. With the last record Aeons In Sodom, it was over for the Scandinavians, who have been wanting to know it again since last year. Let’s see if there’s any new studio material or if they’ll just start playing live for now. The death of Trondr Nefas eleven years ago still resonates with Urgehal. Goatcraft Torment and Antireligiøs kick things off, followed by Satanic Black Metal In Hell. The veterans of the black genre are keen on the Norwegians, who are a little behind this year. Death Metal is clearly ahead at this year’s Party.San. However, Behemoth and Darkened Nocturn Slaughtercult are already available for next year. After Urgehal’s toxic ride, the stage remains in Scandinavian hands.

Illdisposed. Time for the Death Metal from Aarhus Dänemark“is back! For the first time since 2006 these Danish veterans. finally, we are back at PSOA! Led by frontman Bo Summer with his hilarious and funny announcements that he isn’t drunk today The frontman describes himself as old, we would say grown up. The mix of Death Metal hardness and Melodic Death Metal atmosphere creates a successful sound they made the crowd move with their groove-laden Death Metal hits like „Dark“ or „I Believe in Me“. Massive sound and lots of fun made this an early highlight of the day!

The trio with black hoodies Midnight. The American Black speed punk seems ready to that the action. The power trio knows how to skillfully ignite the tinder that is inherent in the genre mix of speed metal, punk, and black ‘n’ roll: Athenar and his guitarist collect a lot of steps, sprint from left to right, and transfer the energy to the audience, that appreciated the show with raised fists, crowd surfing and… a swarm of deposit cups flying towards the stage provoked by the band. Great sound and, a killer live show, always fun to see the performance from them.

The Polish Extreme Technical Death Metal,Decapitated the band I had been waiting for. I have been following this band for quite a long and also I have shown them several times live Performances. is once again giving it their all and the current studio album “Cancer Culture” also offers some absolute hits for the live setlist, the audience exhausted themselves a bit at the previous show. It’s a shame, but it’s still an entertaining and rock-solid three-quarters of an hour that guitarist Wacław Kiełtyka and his colleagues put together.

Grave Miasma the Death Metal Band from the UK. Usually, the band plays at the Tent stage, but now they play at the main stage to cover slots for the band Mantar, they can’t come because of Corona. However, this last-minute change doesn’t go so smoothly, because the band has to struggle with some technical difficulties at the beginning of the set: repeatedly too much bass, too little guitar, and the vocals are often lost. In return, GRAVE MIASMA gets a lot of pyrotechnics: walls of flames and fog support the black death metal of the Brits, who are certainly happy about the chance to take over the main stage at the best time of the year. However, you can already tell that the stage is a big one for GRAVE MIASMA – the band’s haunting sound works better on a smaller one with a stronger club feeling.

Dying Fetus, for the 6th Time this US Trio presented their unique Death Metal to the crowds at PSOA! In maybe the best sound of the whole festival the guys fired off their mix of brutal & technical
but yet often groovy DM Hits like „In the Trenches“ or the fantastic „Grotesque Impalement“. The Americans deliver a colorful set from their entire creative phase and also have two pre-release singles from the upcoming album in their luggage. It was impressively demonstrate how Death Metal is presented to perfection on stage, without losing even a minimum of brutality and authenticity. With the last song “Wrong One To Fuck With” there is a huge hammer blow before you leave the stage for the outro of kool & the Gang.
A once again amazing co-headlining gig from them!.

Hypocrisy, headlining on Friday were the Swedes of Hypocrisy. With an epic futuristic stage set their setlist contained a big variety of classics like „Fractured Millenium“ and „Roswell 47“, new tunes like „Chemical Whore“ and „Children of the Gray“ and some old, rarely played tracks like „Inferior Devotees “, Impotent God“ or „Mind Corruption“. The band around Peter Tägtgren was in good shape, but the sound was not perfect however as the bass and bass drum
were too loud and the vocals a bit too low in the Mix. But all in all a worthy headliner with very cool setlist!

It was a great time and enjoyed seeing all the band performances on the Main Stage. even some of them are not the type of music I listen to. Already late now time to go get sleep and save the energy for tomorrow

Story by Mirko van der Veen and Nova

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