Rock Imperium Festival 2026 @ Parque El Batel

Flytjendur

• 

  Alestorm

  
  

• 

  Mastodon

  Art is a cyclical beast. The same can easily be said of Grammy Award nominated hard rock juggernaut Mastodon. The group’s four members recognize the importance of life’s omnipresent cycles on their sixth full-length album, Once More ‘Round the Sun. The band orbits around themes of loss and rebirth, twirling a sonic spiral of its signature robust riffing, hypnotically haunting soundscapes, triage of dynamic voices, and thundering seismic grooves. At the same time, this particular collection proves personal for Brann Dailor, Brent Hinds, Bill Kelliher, and Troy Sanders. The very title says something slightly different for each member.

  "Quite literally, Once More 'Round the Sun means a year-in-the-life," explains Dailor. "Lyrically, we were discussing things that happened to us recently, whereas in the past we looked further back for inspiration. It's about 365 days in this band. It was a tough and strange journey. We happened to be in the middle of completing a full rotation musically as everything else was going on."

  "It's about being a man and trying to survive in the world. You’re facing all of the crazy shit that goes along with it," adds Hinds. "You've got to just keep rolling. It's the daily grind everybody deals with. It's grinding and rewarding."

  Kelliher concurs, “A lot of crazy and epic things have happened in the nutshell of the past year. For me, I had recently gotten sober. I really focused my time on writing music instead of drinking and being hung-over. We were in a different space here. Another year has gone by, and we wrote this record.”

  Sanders smiles, “The title itself deals with a cycle. Writing, recording, and touring are kickass experiences that we get to relive over and over again. We’ve got the ability to strap it on and go out another time. I look forward to riding this out once more with my three friends.”

  Mastodon’s own collective cycle encompasses a staggering string of accolades. Whether it’s the public endorsement of peers as diverse as Metallica, Pearl Jam, Queens of the Stone Age, CeeLo Green, and Feist or unanimous praise from the likes of Time and Rolling Stone, the band continue to make an impression at every turn. 2011’s The Hunter saw them achieve their highest chart debut yet, reaching #10 on the Billboard Top 200, while the single “Curl of the Burl” notched their second Grammy Award nomination in the category of “Best Hard Rock/Metal Performance”. In between scorching stages everywhere from Sonisphere and Download to Bonnaroo and Coachella, they scored the Josh Brolin sci-fi western Jonah Hex and have been sought out for soundtracks including Pixar’s box office smash Monsters University. As far as rock ‘n’ roll goes, their legacy irrefutably stands alone. However, that legacy expands yet again with Once More ‘Round the Sun.

  In order to uphold a modus operandi of experimentation and evolution, the boys enlisted the talents of super producer Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains, Deftones, etc.) for the very first time. They holed up in his Falcon Rock studio in Nashville throughout the fall of 2013, cutting what would become Once More ‘Round the Sun. Given his passion for the band, Raskulinecz immediately clicked with the musicians.

  “He was very hands-on,” says Sanders. “We were fans of the Deftones and Alice In Chains records he’d done, and we initially met him during the BlackDiamondSkye tour. He literally called Brann every six months reminding us that he was on the hunt to work with us when we were ready. This was the right time.”

  “He was like a coach,” Kelliher goes on. “He brought some energy to the band. I remember he was like, ‘You guys are Mastodon. You’re one of the biggest bands in metal. Give me some of those chunky and thick riffs!’ He let us be who we are.”

  It’s indisputable that Once More ‘Round the Sun is Mastodon through and through. Kelliher’s twelve-string acoustic guitar ominously heralds the record’s onset during album opener “Tread Lightly” just before crashing into an unmistakable roar from Sanders. Hinds churns out a psychedelic slide guitar solo during the title track that entwines with Dailor’s drums in entrancing, yet enigmatic union. The Kelliher-penned first single “High Road” pummels with an intense polyrhythmic guitar groove before snapping into another unshakable refrain from Dailor.

  Kelliher explains, “I wrote that on a day off while we were on tour in Luxembourg. I was sitting in this rainy city on a Sunday. Nothing was open. I felt like I needed to write something to reflect how I was feeling. I started banging on a guitar. I was thinking Neurosis and The Melvins low-tuned with a little more pop sensibility for the chorus.”

  “You can headbang to that one for days,” grins the drummer. “I love the simplicity of it. Lyrically, it’s an angry number where you want to see someone destroyed. It’s heavy-handed in that sense, but it’s the fantasy I felt at the time.”

  Then, there’s “The Motherload”. Sharring vocal duties between Dailor and Sanders the track cruises from a propulsive six-string onslaught into an riveting chorus—one of the band’s biggest to date. “That one is personal for me,” Dailor admits. “It’s not wanting to lose someone and the powers-that-be are trying to take that person away, or the world is just against it. You’re doing everything you can and scrambling to hold on and salvage it.”

  Nodding to their roots, “Chimes At Midnight” sees Sanders call out the words “Hearts Alive”, making a connection to the centerpiece of the band’s critically acclaimed 2004 breakout Leviathan. He reveals, “I never repeated a line on purpose, but I felt like it was time to!”

  On the other end of the spectrum, Hinds delivers a raucous and raw departure in the form of “Halloween”. Wielding a thrashed-up punk riff, the song eventually explodes into incendiary soloing from the axeman in homage to his favorite holiday. However, the biggest surprise comes during “Aunt Lisa”, an anthemic send-off to Brann’s late aunt featuring Atlanta femme punks The Coathangers on a rousing gang vocal.

  “This one came out pretty effortlessly. It’s about Brann’s Aunt Lisa, her wild spirit, and free personality. I love what The Coathangers did. They’re good friends of mine, and they owed me a favor because I got the Mastodon guys to dance around like girls in their video,” chuckles Hinds.

  Brann continues, “My aunt liked anything I did. She definitely lived life to the fullest. If she walked in the room, all eyes were on her. I loved it. I don’t think I’ve ever come across energy like that before, and I don’t know that I will. You never knew what was going to happen when she was around. She had a huge impact on my life. I didn’t get to say goodbye to her properly. This is me trying to say goodbye.”

  Everything culminates on the expansive finale “Diamond in the Witch House”. Boasting a vocal call-and-response between Sanders and Neurosis’s Scott Kelly, on his fourth Mastodon collaboration, the track unfolds in cinematic fashion over eight minutes punctuated by Kelliher’s hulking riffs. “It’s about the fragility of taking responsibility,” admits Sanders. “That’s what happens when you have kids. Precious lives are in your hands and dependent upon your actions. The idea spun from that. It’s about proving your worth and prevailing.”

  Mastodon continue to prevail artistically, and this particular rotation, Once More ‘Round the Sun, upholds that tradition of progression. “We’ve built a band that’s been able to morph, evolve, and change,” Dailor concludes. “Our fan base expects greatness, but they also expect things to be weird and different. I feel confident that we’ve risen to that challenge.”

  Hinds leaves off, “It would be nice if people walk away enjoying the listening experience. That’s the ultimate goal. It’s interesting to see. One thing I know for sure.they can’t walk away and say it’s not original.”

• 

  Trivium

  Hailing from Orlando, Florida, USA, Trivium are a metal band that formed in 2000. They have released a handful of studio albums, and have been hailed as the biggest thrash metal band to form in the 21st century.

• 

  Anthrax

  The Gotthard stands majestically at 3,192 meters above sea level, and the legacy of the band GOTTHARD is just as impressive. Their signature mix of hard rock power, passion and emotion remains potent even after more than 30 years, making their new record "Stereo Crush" seemingly effortless one of their finest works yet. This achievement is significant for a band with 16 number-one albums and 3.5 million units sold! On their 14th studio record, the band combines years of experience with the enthusiasm typical of highly motivated newcomers. A significant strength of the current lineup—founding members Leo Leoni and Marc Lynn, along with Freddy Scherer, Nic Maeder, and new drummer Flavio Mezzodi—is their cohesive bond: a group of extremely talented and like-minded musicians united by a common dream.
  
  This unwavering commitment to quality and their fans didn't develop overnight. Since releasing their legendary debut "GOTTHARD" in 1992, the band has played an astounding 2,000 concerts and achieved the remarkable feat of a quadruple platinum album—a real "Homerun" for the ambassadors of Swiss rock music. "Stereo Crush" is an album for the ages, thanks also to the unofficial sixth member of the band, longtime co-producer Charlie Bauerfeind.
• 

  Within Temptation

  With their symphonic sound, Dutch metal band Within Temptation successfully moved from the gothic underground to become mainstream chart mainstays.

• 

  Sabaton

  Sabaton is a Power Metal band from Falun, Sweden that have a strong lyrical fixation on war history and the nature of battle. Though the group formed in 1999, it was not until the mid 2000s that the group broke out of their cult status to reach a wider audience.

• 

  Testament

  The time has arrived for TESTAMENT to unleash new thunder to the masses and reveal their thirteenth studio album: Titans OF Creation. Just as the elements of this planet thrive within all living creatures, each musician in TESTAMENT represents a necessary component of this latest musical endeavor. Still filled with a massive and unstoppable energy since their last release, TESTAMENT has taken their style to the next level and present an album that is loyal to the roots of traditional thrash metal while still bringing alluring, brilliant, and progressive ingredients to the table. Bass is showcased, new vocals are introduced, and as expected, the guitarwork of Peterson and Skolnick is greatly complex and mesmerizing.

  Eliran Kantor stepped up once again to create a new piece of artwork for the cover of this release. His classic, almost Renaissance style of painting melds beautifully with the ancient, psychological, and enlightened subject matter of the songs. Three monstrous titans stand in the place where the planets are formed. One pours molding liquid which the others hammer into human DNA, twisting and turning into the ring of a newborn planet. Each titan has the flame of a dying star burning in their chest; the origin of the atoms making up the bodies that are bubbling and boiling on the curves of the spiraling helix.

  Titans OF Creation has many moods and material contained within; all of which somehow tie into a common philosophy of creation and its necessary counterpart: destruction. “Children Of The Next Level” smashes through the gates as the opening track with a flood of sound that prepares the listener for an abundance of violent thrash. Meanwhile, the lyrics rage about the outrageous philosophies of the Heaven’s Gate cult (founded in 1974).

  Songs like “Dream Deceiver” carry more old school sound that will tickle the senses of any common TESTAMENT fan. The lyrics describe being trapped in a dream by an otherworldly female force who is slowly working to degrade the mind. Dreams are part of existence, but when we are asleep we are entirely vulnerable; one of the many mysteries of being human. “Someone’s haunting you and won’t leave you alone; the only time they pick at you is at night when they can control the way you sleep,” describes vocalist Chuck Billy.

  “Night of the Witch” features frightening and captivating vocals from Eric Peterson. Carrying a vibe far more akin to Black Metal, Peterson swoops in with a power that melds perfectly with Billy’s ground shaking, guttural growls. Taking some influence from Robert Egger’s 2015 horror masterpiece “The VVitch: A New England Folktale,” the song carries with it a magical quality that directly reflects the mood of the film. At the very end of the track, a theremin howls through the air much like witches rising towards the moon; setting the final tone. “The album has a lot about it that’s fresh to the ear,” explains Peterson.

  Written by guitarist Alex Skolnick, “Symptoms” is filled with detailed with intricate guitar work that well represents the complicated and spellbinding journey that comes along with handling depression, mood swings, and a countless list of mental health frustrations. The lyrics in this song discuss a sad truth: that mental illness is more common than we all think, and than many of us are willing to acknowledge. On a lighter note, a vibrant track entitled “The Healers” swings back and forth between waves of death and thrash, heavy and melodic, light and dark. The words are spiritual, and extremely personal. They describe Billy’s own experience dealing with all natural medicine men; the elders of the earth, and how they managed to help him pinpoint and heal his past illness. “City Of Angels” comes bearing an entirely new sound for TESTAMENT. The creeping sludgieness and slow, stalking tempo, walk hand in hand with the almost unbelievably gruesome tale of the Nightstalker Richard Ramierz, all combining to form another stand-out track on the record.

  In 2020 the days of writing an album all together in one room are far gone, but to be able to take advantage of technology allows for TESTAMENT to go about a very similar writing process to what they always have. Basic songs are molded, structures are added by everyone in the group, instrumentals are highlighted, and finally the lyrics and vocals are created to finalize the sonic story. Facetime and human on human contact still remain crucial elements to TESTAMENT’s song writing process and at some point throughout, every member physically interacts and writes with one another. In between writing this album, the band toured relentlessly which allowed for less stress, more time in between, and greater inspiration for this album cycle. There was also plenty of anxiety-free and level-headed time for pre-production and the initial recording process with Juan Urteaga of Trident Studios. Andy Sneap was then able to tweak, mix, and master this album to his usual perfection.

  TESTAMENT’s process of creation has evolved and progressed yet they’ve remained steadfast over the course of literal decades. While always managing to present the genuine aspects of thrash metal that solidify their existence, they spread into unique horizons through developing crisp and fascinating sounds.

• 

  Queensrÿche

  This is the Official Queensrÿche Facebook Page

  Vocals: Todd La Torre

  Guitar: Michael Wilton*

  Guitar: Mike Stone

  Bass: Eddie Jackson*

  Drums: Casey Grillo

  * Founding Members

• 

  Lacuna Coil

  Formed in 1994, Lacuna Coil quickly became one of Century Media’s biggest selling bands. From Comalies (2002) and Karmacode (2004) to Shallow Life (2009) and Broken Crown Halo (2014), the high-flying Italian act demonstrated an uncanny ability to pull in rock, gothic, and metal audiences. The band’s spirited and lauded live performances have also earned them a solid reputation for a band that not only delivers night in/night out, but also a band whose stage performance reverberates long after the show is over. Indeed, Lacuna Coil’s heartfelt, heavy, melodic, and rhythmic metal—a hybrid of gothic, groove, and alternative—has created a rabid worldwide following. Whether it’s “Our Truth” and “Layers of Time” or “Nothing Stands in Our Way” and “Trip the Darkness,” Lacuna Coil’s dual-vocalist assault is immediately identifiable. The band's latest offering, Comalies XX, is a revisitation of their landmark album from 2002. Fan favorites such as Heaven's A Lie and Swamped have been deconstructed and reworked for year 2022. "We wanted to give these songs a new dress, show the world how these old timers could still look f**king slick in twenty years later."

  Lacuna Coil are: Vocals- Cristina Scabbia , Vocals - Andrea Ferro, Bass & Keys/Synth -Marco Coti Zelati, Guitar - Diego Cavallotti, Drums - Richard Meiz

• 

  Blues Pills

  In the annals of 21st century rock music there are few bands so gleefully out of step with the fickle and ever-changing constraints of fashion than Blues Pills. Theirs is a pyrotechnic combination of thrilling live shows and reliably brilliant releases, and in defiance of expectation they’ve been received with open arms by countless fans of their decidedly analog but modern approach to the timeless songcraft of yesteryear. But if there were ever doubts about whether there was a place in the wider musical pantheon for these torch-bearers for keeping it real both in and outside of the studio, Blues Pills have obliterated them with commanding musicianship and a penchant for writing harpoon-sized hooks, proving time and time again that among rock fans there nothing more important than the quality of the songs themselves. It has now been nearly ten years since the stalwart Swedes stormed the scene with their blues-laden and soulful approach to rock and roll and they’ve shown no signs of slowing down. But if the swagger and fist-in-the-sir gusto of their 2014 self- titled debut worked as a bold statement of intent, it’s the consistency of their output – 2016’s rapturously-received Lady In Gold and 2020’s equally beloved Holy Moly! – that’s kept them in the frame, but now they’re ready to push the bar even further with their fourth studio release.
  
  They’ve named it Birthday, and as singer Elin Larsson explains, the band’s time in the studio saw the birth of more than just a record. “During the recordings of the album I discovered I was pregnant,” she says. “It wasn’t planned so I was a bit overwhelmed and it changed a lot but it actually made it easier for me to write for this album. With all the hormones I was way more emotional than usual, and I wanted to continue with my life even though I’m bringing a kid into the world. It should be natural to be both a mother and an artist, and I want my son Loui to be on that journey with me.” Elin explains that she was still recording and working on the final song in the studio at full term – on the very week she was due. As she posted on Instagram showing her bump, ‘I’m not only baking a new record, I’m baking something else too,’ and her experience of motherhood is something she’s keen to keep front and center. “I was doing double the work,” she says. “It’s hard being pregnant and still working like we had been. It’s incredible how the female body works, creating a life and carrying it for nine months. That’s a powerful statement and I need to figure out how to combine the two worlds: being a mom and being an artist. It's important for me because Blues Pills is my baby too! It’s not common for rock bands to have a female vocalist in the first place, but pregnant? I felt beautiful and more powerful because I had two hearts and two of everything.” Written and recorded in Sweden’s idyllic rural countryside as well as Recordia studios, Birthday took just 10 days to record. Produced by renowned songwriter and studio guru Freddy Alexander who’s worked with artists as diverse as The Chainsmokers and the Veronicas, there’s an irrepressible energy and live-feel to Blues Pills’ that bespeaks a confidence in their ability to craft new compelling sounds without tampering with the explosive formula that got them their start – a sound that’s as eclectic as it is heavy as it is fun, and their continuity is testament to their determination to progress, mature, and evolve their sound within a fickle industry. Slutet på sida 1.
  Sida 2. “Our style of music is able to cross boundaries a little bit,” says co-writer and guitarist Zack Anderson. “In a very short space of time we went from being a band that no-one had heard of to playing giant festivals and bigger shows than we could have imagined. We were quite young so that came with a lot of pressure. Now that we're older it’s easier to see that you should just do music for yourself. And it’s a blessing that we grew up in a time before all the technology totally took off. When we first started – when we recorded our first songs – it was with one of those Tascam cassette recorders – so you couldn't fix anything. So the only way to do it was to actually be able to perform the thing for real. That's where we started off from. I guess that set the tone for the rest of our career.” And, as Eilin explains, the creation of Birthday wasn’t just an affirmation of Blues Pills’ exceptional talents on and off the stage. It was a bonding experience for them as well. “I felt all the love for my bandmates that they were so supportive to me,” she says. “Everyone was like, ‘we're so happy, we will figure it out.’ So we became even closer as band members and friends. I’m grateful for that.”
• 

  The Gathering
• 

  Anneke Van Giersbergen

  Anneke van Giersbergen is a Dutch singer-songwriter, known for her serene yet powerful voice, musical versatility, and captivating stage presence.

  Her new album will be titled La Vie, La Mort, L’Amour - French for ‘Life, Death, Love’. This collection of songs will be released as a trilogy. The first EP, La Vie, will be available digitally on February 28.

  Anneke comments: “I wrote these songs shortly after the passing of both of my parents and I brought my 8-piece live band into the studio to record them. Last year, I was confronted with some of life’s biggest questions and the doubt that came with my loss. These songs reflect my emotions and thoughts during that challenging time. Musically, I was inspired by the sounds of the '80s and '90s, the music that shaped my youth.”

  In 2026, the three EPs will come together to form a full-length album. The release of the third EP will coincide with a physical version containing all the songs, available as a CD Digipak and Gatefold LP.

  After thirteen years as the frontwoman for melancholic metallers The Gathering, Anneke ventured out on her own in 2007. Since then, her creativity has known no bounds. She quickly established a successful solo career, while also collaborating frequently with Canadian metal genius Devin Townsend and Ayreon mastermind Arjen Lucassen. Additionally, Anneke has lent her voice to a diverse range of artists, including Napalm Death, Icelandic folk group Árstíðir, Amorphis, and prog legend John Wetton.

  In 2019, the Dutch music copyright organization Buma Cultuur honored Anneke with the Buma ROCKS! Export Award, recognizing her as one of the most prominent Dutch artists abroad in heavy music.

  The Darkest Skies Are The Brightest, Anneke's 23rd career album, was released in 2021. This deeply personal record captivated her fans once again.

  The five reunion concerts that she will perform in August 2025 with her former band, The Gathering, celebrating the 30th anniversary of the classic album Mandylion, sold out within minutes.

  https://www.annekevangiersbergen.com

  https://www.instagram.com/annekevangiersbergenofficial

  https://www.facebook.com/annekevangiersbergenofficial

  https://www.youtube.com/@annekevangiersbergenofficial

• 

  Grand Magus
• 

  Dogma

  Dogma is a New Project, wich arised from the partnership between Gleisson Moura and Clovis a.k.a. CUBO, bringing their inuences to create new, profound, atmospheric music.
• 

  H. E. A. T
• 

  UADA

  Ever since the cloaked Pacific Northwest band appeared on the music radar, UADA has always been electrified by both polar worlds. Their echelon was stark and meaningful. Within the stretch of 3 albums as well as dense and triumphant live shows across the globe, they have not only spiked the map of extreme metal music, but their unrelenting touring schedule and unbridled will to push forward into new horizons has also earned them a reception in all the extremes imaginable, be it worship or spite.

  On their forthcoming fourth full-length album 'Crepuscule Natura', UADA provides all their memorable hooks, tasteful leads, and riding blasts in their distinct style, balancing their epic surging melodies with powerful spurts of aggression. Just like the band's smoke-heavy shows, the momentum and emphasis of their craft always stays grandiose, mythical, and triumphant – all the while making sure to birth a couple of new fan favorites and soon-to-be staple live songs.

  Since the beginning the visual side is graced by the artwork of legendary Kris Verwimp and photograph Peter Beste.

• 

  Crazy Lixx

  Danny Rexon - Vocals, Jens Anderson - Bass, Chrisse Olsson - Guitar, Jens Lundgren - Guitar

• Crimson Glory
• 

  Avulsed
• 

  Wings of Steel

  New single “𝐆𝐚𝐭𝐞𝐬 𝐨𝐟 𝐓𝐰𝐢𝐥𝐢𝐠𝐡𝐭 (𝐋𝐈𝐕𝐄)” Out now! Listen & Pre order “Live in France” CDs and Vinyls here ⬇️ Pre order - https://wingsofsteelband.com/#store Youtube - https://youtu.be/VmMNkTVSS9g
• Latzen
• Heleven
• Doble Esfera
• Estrella Negra
• Presa
• 4 Bajo Zero
• TRISKEL