Line-up Marquee Graspop 2025

Belgian post metal/sludge peddlers Psychonaut self-released their 2018 debut ‘Unfold the God Man’, putting them squarely in the crosshairs of Pelagic Records, who promptly re-released the album. It’s no secret our country has no shortage of homegrown talent but few bands come to fruition as fast as Psychonaut. Their sophomore effort 'Violate Consensus Reality' is without a doubt one of the best metal albums of 2022. Lyrically it delves into themes of collective human consciousness and the idea of transcending perceived separations to form a unified civilisation. Musically, it forges a well-balanced whole consisting of progressive, psychedelic, sludge and post-metal influences, creating a dense yet dynamic soundscape. The album garnered rave reviews at home and abroad, and the title track features guest appearances by Stefanie Mannaerts (Brutus) and Colin H. van Eeckhout (Amenra). The combination of Stefanie’s clean vocals and Colin’s agonised shrieks is spine-chilling, providing one of many highlights on an album that marries flawless musicianship, exceptional songwriting and lyrical relevance. Talk about a highly anticipated GMM debut! #GMM25

Signs of the Swarm are a brutal deathcore band hailing from Pittsburgh, Pennsylvania. Since their inception in 2014 they have been stretching the limits of the genre. From their promising debut ‘Senseless Order’ (2016) across ‘The Disfigurement of Existence’ (2017) with its superior production, right down to their most recent feat, ‘Amongst the Low & Empty’ (2023), they have proven themselves masters at making dark, intense music that delivers an auditory throttling from the very first note. With a combination of crushing blast beats and unhinged vocals, they have managed to secure a worldwide fan base that continues to grow with every new tour and album. Prepare for a caustic deathcore attack with hints of slam death metal. #GMM25

Death Angel were one of the most popular thrash bands of the 80s. They spearheaded the second wave of thrash and their popularity soared following the release of their acclaimed third album ‘Act III’ (1990), which showcased the band’s artistic versatility thanks to the use of acoustic guitars and elements of funk and traditional heavy metal. A serious tour bus accident indirectly led to the band’s demise but a decade later a one-off contribution to a Chuck Billy benefit show led to the reformation of Death Angel. Excellent new albums such as ‘The Art of Dying’ (2004) and ‘Killing Season’ (2008) proved the old fire had been rekindled and they continue to put out excellent albums, with their most recent long player ’Humanicide’ ( 2019) resulting in a Grammy nomination. Don’t miss Act VI of Death Angel’s GMM catalogue! #GMM25

Drummer Martin Lopez founded Soen after his departure from Opeth and their studio debut ‘Cognitive’ dropped in 2012. Their debut was often likened to Tool but the comparisons ended with their sophomore outing ‘Tellurian’ (2014), thanks to tracks that flow more organically. On ‘Lykaia’ (2017) Soen found their own voice and identity: it’s a prog record with accessible yet intricate song structures bursting with consummate musicianship and standout vocals by versatile vocalist Joel Ekelöf. With the Tool comparisons swept aside, ‘Lotus’ (2019) saw Soen experimenting with more of a classic rock style that signals the next step in their evolution as one of the most exciting prog metal bands in the business. ‘Imperial’ (2021) is to Soen what the Black Album was to Metallica and topped many Album of the Year lists. On their latest slab ‘Memorial’ (2023) they took a somewhat more accessible approach but that hasn’t detracted from the quality of the songs. Soen are a finger-licking prospect for fans of Tool, Opeth, Anathema and Pink Floyd. #GMM25

Paradise Lost’s breakthrough album ‘Gothic’ (1991) propelled them to the top tier of the doom metal genre, a status the Halifax sons were able to consolidate on both Shades of God (1992) and Icon (1993). Over the years their output mellowed somewhat but 2007’s ‘In Requiem’ saw them return to their heavier roots and they’ve been on a major upswing ever since. Over the last decade they’ve continued to redefine their sound, marrying the doom influences from their early days with more melodic elements and a mixture of clean and harsh vocals. On ‘The Plague Within’ (2015), Holmes’ taking over mic duties for Bloodbath crystallised into the most cavernous vocals he’d produced in years. The powerful combination of Aedy’s crushing riffs and Mackintosh’s sorrowful, lamenting melodies create that typical gothic Paradise Lost atmosphere and the rhythm section is a slow, unrelenting machine that crushes everything in sight. ‘Medusa’ (2017) abandons the gothic approach in favour of the doom sound of their early days and Obisidian (2020) once again illustrates their two greatest strengths: consistency and the ability to keep things fresh, even after 37 years. #GMM25

Orbit Culture is a Swedish metal band that delivers a crushing mix of groove, melodic death metal and thrash that will appeal to fans of Gojira, Metallica and Fear Factory. Heavy, down-tuned riffs, thunderous drumming and powerful growls help create an intense atmosphere that is both massive and emotionally charged. Formed in Eksjö, Sweden, the band has been making waves on the metal scene with albums like ‘Nija’ (2020) and ‘Descent’ (2023), demonstrating their ability to balance brutality with melody. They are a quintessential live band thanks to tons of raw energy, headbanging riffs and spine-chilling vocals that will draw in groove dogs and melodic death fans. #GMM25

Together with Napalm Death, Carcass were the progenitors of the emerging goregrind scene. The feast of blood, guts and gore was backed by intelligent lyrics that seemed to come straight out of a medical handbook. As for the music, Carcass sounded every bit as deadly as their morbid artwork promised and ‘Reek of Putrefaction’ (1988) and ‘Symphonies of Sickness’ (1989) are still landmark albums. The more melodic approach on ‘Heartwork’ (1993) was credited with carrying the seed for what would later become known as melodic death metal but in 1996 - and in spite of growing commercial success - recording issues and a changing music industry heralded the demise of the band. The patient was ultimately resuscitated in 2007 when Carcass were booked to play a number of festival shows but it would be another six years before ‘Surgical Steel’ dropped, another masterpiece that brings a mix of crushing grind and melodic death metal with a set of cojones the size of wrecking balls. Their last album to date, 2019’s ‘Torn Arteries’ sees Carcass wielding less lethal instruments than in their youthful prime but the surgical precision makes for more accessible tracks. Jeff Walker’s sarcastic stage banter is an attraction in itself and GMM die-hards will certainly remember their headlining Marquee show at our 2019 edition. #GMM25

Based out of Bridgeport, Connecticut, Hatebreed are known for their singular amalgam of, amongst others, hardcore, metalcore, punk(rock), groove and thrash. Even on their 1996 debut ‘Under the Knife’, they exhibited an amazing ability to blend these genres into a galvanising bare-knuckled cocktail that effortlessly bridges the gap between musical styles. With subsequently ‘Perseverance’ (2002), ‘The Rise of Brutality’ (2003) and ‘Supremacy’ (2006), frontman Jamey Jasta and his band mates wrote a prominent chapter in the history of metalcore. The band leader oozes charisma and in the past both Jasta and Hatebreed have collaborated successfully with countless colleagues from other subgenres. Hatebreed are one of hardcore’s leading lights, a reputation they’ve earned a thousand times over, both on stages worldwide and in the studio. Give ‘The Divinity of Purpose’ (2013) or ‘The Concrete Professional’ (2016) a quick listen and it’s instantly obvious time hasn’t dulled their edge. The closing line of the opening track of their last studio effort to date, ‘Weight of the False Self’ (2020), captures the essence of Hatebreed’s mission: unleash the savage instinct! #GMM25

Spectral Wound conjure black metal in its purest, most feral form. Hailing from Montreal and formed in 2014, the band rejects posturing and pretence in favour of sheer sonic violence, rooted in the second-wave tradition but with a modern edge. With no studio trickery or ambient filler, Spectral Wound channel icy melodies through scorched-earth riffs and relentless drumming, creating an atmosphere that’s both haunting and electrifying. Their breakout album ‘Infernal Decadence’ (2018) established them as purveyors of uncompromising black metal, while ‘A Diabolic Thirst’ (2021) further cemented their reputation, with critics praising its blistering energy and melodic sophistication. Drawing influence from the likes of Darkthrone and Gorgoroth but with a distinct Canadian frostbite, Spectral Wound deliver a live set that feels like being swept into a blizzard of sound. #GMM25

Rising from the heart of Galicia, Spain, Bloodhunter have been steadily carving their name into the European metal scene with razor-sharp riffs and a ferocious stage presence. Formed in 2012 by guitarist and composer Dani Arcos, the band really found its voice with the arrival later that year of vocalist Diva Satanica, a growling powerhouse who would later gain wider fame through her stint in Nervosa and as a contestant on The Voice Spain. Bloodhunter’s sound is rooted in melodic death metal but leans into thrash, groove and even classic heavy metal influences, resulting in a style that is both catchy and crushing. Albums like ‘The End of Faith’ (2017) and breakout album ‘Knowledge Was the Price’ (2022) – with a Ripper Owens guest appearance – showcase aggressive, technically precise work focusing on dark, introspective themes. Their rise has been fuelled by tireless touring, fierce determination and a live reputation that’s growing louder with every set. Expect sheer energy, furious solos and guttural vocals that obliterate all. #GMM25

Hailing from Virginia, this female-fronted fivesome are known for creating a wall of sound dominated by fuzzy guitars. Following their 2012 self-titled debut, Windhand’s sophomore offering ‘Soma’ (2013) is another slab of thunderously heavy stoner doom metal. Most of the tracks on this album also feature on 2014’s ‘Live at Roadburn’, which is the perfect introduction to Windhand if you’re not familiar with their trademark Sabbathian vibe. The years following 2016 marked a further descent into the depths of their sound. Their 2018 album ‘Eternal Return’, produced by Jack Endino (Nirvana, Soundgarden), was a pivotal moment, blending crushing heaviness with mournful psychedelia and showcasing Dorthia Cottrell’s haunting, hypnotic vocals in full force. It’s a doomy yet dreamy album that balances fuzz-drenched riffs with melodic introspection. This is their last full-length to date but apparently new material is in the works. Still, frontwoman Dorthia Cottrell couldn’t wait that long and in 2023 she released a solo album, ‘Death Folk Country’. Windhand’s live presence is rooted in atmosphere, with each performance feeling like a slow-burning ritual. No gimmicks, just pure, soul-crushing doom with heart. #GMM25

Inspired by British classic rock and early heavy metal – specifically 70s era Black Sabbath – Green Lung offers a gripping take on the stoner/doom genre. The band emerged in 2017 in London and made a lasting impression with their debut ‘Woodland Rites’ (2019), which the press labelled ‘simply incredible’. Lyrically they like to evoke themes from old horror movies and English folklore. Their second album ‘Black Harvest’ saw their popularity progress beyond genre boundaries and their most recent contribution ‘This Heathen Land’ (2023) is another highly satisfying “journey into occult Albion”, as one reviewer eloquently put it. Green Lung offer a unique blend of Hammond organ-laden 70s rock, psychedelia and roaring doom metal. #GMM25 

Fronted by the charismatic Ben Ward, this London quartet formed in 1995 and are one of the genre’s most consistently successful acts. In their early years they put out a number of heavy hitters that combined gravelly stoner stomps with doom and space metal accents. After the turn of the millennium they started to incorporate more classic hard rock and even punk influences into their music. ‘A Eulogy for the Damned’ (2012) is a fine example and their live recording ‘A Eulogy for the Fans: Orange Goblin Live 2012’ is the perfect introduction to what you can expect this summer. Following the release of ‘The Wolf Bites Back’ (2018), bassist and co-founder Martyn Millard departed amicably and was replaced by Harry Armstrong (ex-Decomposed, Hangnail, Earls of Mars, End of Level Boss). In addition to Ben Ward’s versatile roars/shouts/clean contributions, Armstrong’s low-end contribution adds bite and power to Orange Goblin’s latest stoner/doom slab ‘Science, Not Fiction’ (2024). Come and sample the new material live! #GMM25

Instead of death metal, Eagles of Death Metal play a pumped-up mash-up of hard rock, garage rock, blues, desert rock, boogie, funk, rockabilly, punk and more. Singer/guitarist Jesse Hughes and drummer Josh Homme of Kyuss and QOTSA fame formed the band in 1988 in Palm Desert, California. Hughes and Homme are the only constant members, the rest are touring musicians. Homme’s reputation gave them a leg up with the release of their maiden effort ‘Peace, Love, Death Metal’ (2004) and follow-up ‘Death by Sexy’ more than met expectations two years later. They went on an extended hiatus following ‘Heart On’ (2008) and their comeback album ‘Zipper Down’ (2015), released shortly before the Bataclan attack on Paris, is their last studio effort to date. Over the years a number of big names have contributed, ranging from Taylor Hawkins, Joe Castillo, Troy Van Leeuwen, Mastodon’s Brent Hinds and Dave Grohl to Belgium’s own Tim Vanhamel. #GMM25

Hailing from Denver, Colorado, Blood Incantation is a death metal powerhouse known for fusing mind-bending technicality with cosmic, atmospheric elements. Formed in 2011, the band quickly made a name for themselves with their intricate compositions and hauntingly atmospheric sound. Their music draws on both the brutality of old-school death metal and the progressive elements of space and science fiction themes. Known for their impressive musicianship, Blood Incantation often dive into abstract concepts, from the vastness of space to philosophical musings on the nature of life itself. Their music has been described as a blend of late-era Death and the alien tones of ‘Domination’-era Morbid Angel. Their 2022 EP ‘Timewave Zero’ was characterised by ambient leanings but it’s their latest full-length ‘Absolute Elsewhere’ that dropped jaws and was Rock Tribune’s 2024 album of the year. #GMM25

Opeth’s 1995 debut ‘Orchid’ changed the rules overnight: Opeth single-handedly created a flamboyant crossover between progressive seventies rock and the melodic but brutal death metal of their hometown Stockholm. The result is a cocktail of sharp contrasts where subdued, semi-acoustic passages with soothing vocals suddenly degenerate into face-crunching riffs punctuated with bowel-churning grunts. While this is a somewhat unusual combo, the ease with which these musical geniuses create seemingly endless and spellbinding compositions leaves even the most die-hard sceptics gasping for breath. Their seminal album ‘Blackwater Park’ (2001) brought widespread mainstream recognition and signalled their definitive breakthrough. They became the flag bearers of ‘progressive death metal’, a title they vacated quite unexpectedly with the release of their album ‘Heritage’ (2011): no more blast beats or death growls until… ‘The Last Will and Testament’ (2024). The album is reminiscent of the ‘Ghost Reveries’ – ‘Watershed’ era but the prog vibe nevertheless remains present. Fans of their early work regard the new album as a return to form and those who didn’t catch their sold-out performance at Ancienne Belgique earlier this year will be itching to hear the new material live. #GMM25

Originating from Oslo, Dødheimsgard – also known as DHG – are trailblazers in the avant-garde black metal scene, known for their cross-genre approach. Formed in 1994, the band initially embraced raw, atmospheric black metal but around the turn of the millennium, they evolved into a more experimental, electronic-infused style that blends industrial, progressive and even jazz influences. Dødheimsgard’s music is cryptic and complex, delving into dark, philosophical themes, often with a surreal and unsettling edge. Since the iconic ‘666 International’ (1999), they’ve released an album every eight years but it’s always worth the wait: they continually push the envelope, both sonically and conceptually. Their live shows are as intense and unpredictable as their music, making for a truly unique experience. #GMM25

Named after the Whitechapel district in London where Jack the Ripper cut several prostitutes to ribbons in the 1880s, this American deathcore outfit from Knoxville, Tennessee dropped a noted debut with ‘The Somatic Defilement’ (2007), a prime example of the fusion of death metal and hardcore punk that was all the rage at the time. Blast beats and breakdowns are traditionally signature components of a metalcore album, yet on ‘Mark of the Blade’ (2016), Whitechapel chose to experiment with the djent/groove style that was gaining a foothold back then. Since this album, Phil Bozeman has been experimenting with clean vocals here and there but without detracting from their striking power. In recent years they’ve toured with such illustrious names as Cannibal Corpse, Meshuggah, Slipknot, Bloodbath, Pantera, Metallica, Slayer, Behemoth and Tool to name just a few and now the co-founders of the deathcore genre are back for their second GMM appearance. #GMM25

With an inventive blend of thrash, progressive and melodic death metal and the occasional whiff of metalcore, the Brits from Sylosis have built an enviable reputation on the extreme metal scene. Formed as long ago as 2000, it nevertheless took them eight years to birth their first long player with ‘Conclusion of an Age’. With vocalist/guitarist Josh Middleton at the helm, they took old school Bay Area thrash as a starting point, adding elements from across the metal spectrum along the way. Their brutal yet melodic sound and frequent tempo changes set them apart from the rest. There have been occasional line-up changes over the years but Middleton has always been able to steer the ship through choppy waters, even when he filled in on guitar for Architects following the demise of his close friend Tom Searle; in 2023 Middelton returned to Sylosis full-time. The title of their latest slab ‘A Sign of Things to Come’ leaves no doubt they’re far from done. #GMM25 

Extreme metallers Primordial have been called a black metal band but in truth they employ a mix of black, doom and traditional Celtic music. Their pagan folk metal has grown heavier over the years, mainly driven by atmospheric and melancholic melodies. Throughout their existence, Primordial have explored the trials and tribulations of Ireland’s troubled past, working their way from its earliest history including woeful tales of plague and famine, to the transition to Christianity and the lingering shadow of paganism, all the while wondering what the future holds. Vocalist Alan ‘Naihmass Nemtheanga’ Averill’s powerful and emotive delivery lends the music a degree of gravitas that fits perfectly with the folk/progressive/black metal elements. Judging by their tenth long player ‘How It Ends’ (2023) he  certainly believes that future is looking bleak, stating the album is about “resisting the empires, the freedom fighters, the outlaws, the people who made suicidal stands for freedom of speech, or independence – or for the most important word in the English language: liberty”.  #GMM25

Carnation bring death metal back to life with razor-sharp riffs and bone-crushing intensity. Hailing from Belgium’s underground, they’ve carved a name on stages across the globe—and in 2025, they return to Graspop Metal Meeting for the third time, ready to unleash their heaviest set yet. #GMM25

Imminence started paving the way to greatness in 2009 when the members were still in their teens but oddly enough this talented group hasn’t made it to the big leagues yet. Their first album ‘I’ dropped in 2014 and seamlessly stitched together the fabrics of post-hardcore and metalcore with a combination of chant-along choruses and blistering technical riffage. Imminence is writing its own chapter in music history, clearly inspired by, among other, their countrymen of in Flames. Their sophomore album ‘This Is Goodbye’ (2017) moved away from the band’s hardcore beginnings in favour of a more polished sound. Carried by singer Eddie Berg’s vocal prowess and a djenty vibe, ‘Turn the Light on’ (2019) will definitely appeal to fans of Architects. Their latest slab ‘The Black’ (2024) is a cinematic blend of orchestral elements, crushing breakdowns and emotional depth, solidifying their typical mix of melody and brutality. Fans of Architects, Bring Me the Horizon, Spiritbox, Parkway Drive and Bad Omens will love their ability to fuse metalcore intensity with symphonic grandeur. #GMM25

In 2019 the Metal Dome was filled to capacity for the GMM debut of The Hu. Formed in 2016 in the Mongolian capital of Ulaanbaatar, The Hu – derived from a long-gone Mongolian empire known as the Hunna, or the Huns for us Westerners -  are a band that you either love or hate. They play Hunnu rock, a unique local genre that combines metal with traditional Mongolian folk instruments and a multi-octave droning technique knows as throat singing. Before long, extensive touring helped them conquer strange lands at a rate to rival Ghengis Khan. They completed their first European tour even before the release of their full debut ‘The Gereg’(2019) and Papa Roach, Metallica and Halestorm are in their corner: Halesstorm’s Lzzy Hale featured on the track ‘Song of Women’ and The Hu put their unique spin on Metallica’s ‘Sad But True’. Brace yourselves for what will undoubtedly be another standout performance in more ways than one. #GMM25

Formed in 1999 in Kortrijk, these doom/sludge/post-metal masters are one of the main exponents of the Belgian extreme metal scene. Eleven years after their GMM debut, they are the first homegrown band to headline our festival. Amenra are known for their fierce live shows, creating a soundscape that is both crushing and emotionally demanding. Their music is steeped in gloom, misery, suffering and mental torment, yet… empathy, togetherness and spirituality nurture an ember of hope. With the Church of Ra, a collective of kindred souls and like-minded artists, they also like to perform in unusual locations such as abandoned churches, chapels or even caves. Many of their EPs and full-length albums are named ‘Mass’ (I through VI), referencing a gathering of people with the aim of offering mutual support in dealing with life’s adversities rather than creating an actual religious experience. Amenra love a challenge and don’t hesitate to push boundaries. Every new album is a renaissance of sorts, forcing them to reinvent themselves. Their seventh album ‘De Doorn’ (2021) is the perfect example: in spite of its Dutch lyrics, the US market welcomed this latest release with open arms. Welcome to the big leagues! #GMM25

Los Angeles-based Amira Elfeky moulds nu-metal influences, a mysterious goth atmosphere and emotive compositions into an aggressive but accessible rock sound. She started playing music at a very young age and at fifteen she moved to the Bay Area, where she discovered nu-metal and grunge. She subsequently moved to California and started working on songs inspired by 1990s alt-rock. Anemoia label owner Ian Hunter gave her access to his home recording facility, where she fine-tuned her mix of alternative metal and Evanescence-style gothic rock. Once signed by Anemoia, she released ‘Coming Down’ and ‘Everything I Do Is for You’. Her maiden EP ‘Skin to Skin’ dropped in the spring of last year. Her lyrics often focus on mental health, anxiety and vulnerability and so far she’s toured with such acts as Evanescence, The Used and Story of the Year. #GMM25

Spanish thrashers Angelus Apatrida emerged in the millennium year in Albacete, Spain. Originally they formed as a heavy /power metal outfit but before long they gravitated towards a more thrash-oriented sound. Their full-length debut ‘Evil Unleashed’ (2006) was a commercial success that made waves in Spain and beyond. Sophomore effort ‘Give ‘em War’ (2007) garnered rave reviews. Faster, darker and more aggressive than its predecessor, it was voted one of the best overall thrash releases of 2008 thanks to extensive airplay. The dark, aggressive side to their music earned them a worldwide record deal with Century Media. Their fourth outing 'The Call' (2012) used an ever wider range of styles and consolidated the positive evolution that built them a worldwide fan base. Since then they’ve gone from strength to strength and their latest slab ‘Aftermath’ (2023) is a razor-sharp thrash banger that sounds like a vintage Bay Area release. Fans of Havok, Testament, Death Angel and Exodus will be chomping at the bit to catch one of Europe’s leading thrash bands live.#GMM25

The band’s first incarnation dates back to 1984 and today only vocalist Kam Lee remains. As a band, Massacre spearheaded the death genre together with Death, a band Lee, Rick Rozz, Terry Butler and Bill Andrews were a member of at some point. Their 1991 debut ‘From Beyond’ smashed the extreme metal scene to smithereens. Foreshadowing the brutal death metal that lurked just around the corner, blast beats were still conspicuously absent so that ‘From Beyond’ could be labelled a thrash metal album taken to extremes. Vocally Kam Lee took inspiration from Celtic Frost vocalist Tom G. Warrior, making him one of the first to introduce the infamous death grunt, with intermittent high-pitched screams thrown in that make for a versatile vocal range. Massacre’s line-up has always been a revolving door and the next break-up was always around the corner. Over the years they reformed occasionally but it never lasted. In 2017 they reformed yet again, then released new material in 2021 with ‘Resurgence. Since last year, Kam Lee has found a stable line-up again, resulting in ‘Necrolution’ (2024), a throwback to archetypical, early 90s Florideath, without sounding dated. #GMM25

Deathcore mongers Fit for an Autopsy use their lyrics to vent their contempt for society. Add in a relentless sonic onslaught and you’ve got a band that lays siege on the ears and minds of whoever happens to be listening. It is often said that a band’s third release is crucial and for Fit for an Autopsy it was their breakthrough effort. ‘Absolute Hope Absolute Hell’ (2015) gave their popularity a huge boost and they haven’t looked back since. It was the first LP to feature then new singer Joe Badolato and it is still their highest charting effort to date. Subsequent albums consolidated their standing as their music continued to evolve, introducing elements of melodic and progressive death metal. At the bottom end of 2024 they embarked on a European headlining tour and now it’s high time for their GMM debut! Fans of Whitechapel, Suicide Silence and Thy Art Is Murder know what to do. #GMM25

Paleface Swiss are a sledgehammer to the senses—raw, relentless and unflinchingly heavy. Hailing from Switzerland, this genre-bending outfit fuse deathcore, beatdown and hardcore into a furious storm of downtuned riffs, crushing breakdowns and guttural vocals. Frontman Marc Zelli leads the charge with ferocious energy, and their new album ‘Cursed’ (2025) cements their place as one of the most punishing acts on the scene. Building on the chaos of ‘Fear & Dagger’ (2022), ‘Cursed’ takes an even darker and heavier approach, with lyrics that rip into themes of pain, betrayal and inner torment. The Marquee is in for an onslaught on Sunday: swinging fists, circle pits and unfiltered catharsis. #GMM25

Sacred Reich are a popular band from the second wave of thrash that swept across the globe in the late 80s. The cheerful gang from Phoenix, Arizona, soon made a name for themselves with the speed devil attack of ‘Ignorance’ (1987) and ‘Surf Nicaragua’ (1988), and the grooving mid-tempo thrash of ‘The American Way’ (1990) and ‘Independent’ (1993). They split in 2000 but the band was subsequently revived in 2006. Electing not to record any new material, they preferred to simply play the old classics and no new material was forthcoming... until August 2019. Did the current state of the world stoke singer/bassist Phil Rind’s socio-critical and anti-political inner fire? For Sacred Reich to hit the studio after a recording drought of more than two decades hardly seems coincidence. Whatever the reason, it seems like not a day passed since ‘Heal’ (1996). Punk/thrash attack? Check. Socially conscious lyrics? Check. Aggression from every pore? Check. Sacred Reich are still firing on all cylinders so mosh it up! #GMM25 

Extreme metal would never have been what it is today without the rise of Swiss musical genius Tom Gabriel Fischer, aka Tom G. Warrior. When internal strife killed Celtic Frost in the wake of their brilliant comeback album ‘Monotheist’, driving force Tom G. Warrior assembled a new pack of eager young wolves to form Triptykon. Their first album ‘Eparistera Daimones’ is marked by the lingering anger over Celtic Frost’s breakup and serves up an ageless, primeval blend of black, doom and death that shook the extreme metal scene to its foundations. Or in other words, and as intended by its maker, the album sounds like a tweaked extension of Celtic Frost’s ‘Monotheist’. Their second and last album to date, 2014’s  ‘Melana Chasmata’, is a logical evolution of Warrior’s two previous albums, with a sound that is less angry but more refined. The avant-garde tendencies are dialled back and the whole album exudes a solemn and at times despondent mood. No new work has been released over the last decade but Triptykon continue to tour extensively with a set list that often includes Celtic Frost tracks. #GMM25

Famous for his multi-octave range and for switching effortlessly back and forth between a demonic falsetto and a gravelly growl, Kim Bendix Petersen aka King Diamond is one of the most unique characters in heavy metal history. King Diamond’s debut ‘Fatal Portrait’ (1986) was indebted to the satanical approach of Mercyful Fate, who were among the leading lights of the first wave of black metal as well as a formative influence on Metallica, Slayer and others. Soon, though, King Diamond would carve out a niche all their own. The string of concept albums that followed galvanised millions of fans worldwide and inspired countless musicians and bands. From ‘Abigail’ (1987), ‘Them’ (1988) and ‘Conspiracy’ (1989) right down to the Grammy-nominated ‘Give Us Your Soul… Please’ (2007), King Diamond’s discography is haunted by some of metal’s most unsavoury characters. ‘Spider Lilly’, the leading single off the long-awaited new album, is the first part of the forthcoming Horror Trilogy, with the first instalment titled ‘Saint Lucifer’s Hospital 1920’. King Diamond shows are theatrical performances in every sense of the word: not only do they take their own set design on tour but the horror stories that unfold in the lyrics are acted out on stage. After a long and storied career, King Diamond and his coven once again return to the GMM stage. There’s time for a few new chapters yet… #GMM25