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Starting in '97, then losing a few years to the pandemic, 2024 was the quarter century mark for the Bavarian based Open Air festival. In that time, Summer Breeze has become Germany's second largest multi-day metal event (behind the monstrously mammoth Wacken), featuring over 150 bands, on four stages. 

Located in the southern portion of the country, it is more accessible (by plane, train or car) than its northern big brother and generally has better weather (warmer/less rain/mud), while still accommodating more than 40,000 fans, per day. Music typically starts before noon and lasts until 2 or 3 AM, so seeing all the bands, on any given day is next to impossible, even with the overlapping time slots, on multiple stages. 

Even a pre-game, mapped out plan can get derailed by any number of things: shopping, eating, meeting/talking to friends/artists, Metal Tim's backstage signing sessions with the artists, an occasional late start/time over-run and in my case, traipsing from one stage to another, in order to wait in the photo line, for the next artist. And that's just when the weather cooperates, as it did for all of the 2024 show! 

So some "adjustments" to planned viewing/coverage inevitably take place. Sorry if we didn't mention your favorite. One uninvited guest, especially in the artists' encampment, was an omnipresent swarm of yellow jackets. Much like their human counterparts, all they wanted was a little something to drink, enticed by the sweet mixed drinks and beer, frequently climbing inside the cup, or more problematic, down inside (and out of sight, in) the bottle or can. Hot sun and loud music wasn't the only things with which to be careful.

DAY 1
Went pretty much according to Team BraveWords' plan, with one unexpected/unannounced surprise act. First up, the tribal face painted, battle gear & leather/fur kilt wearing Brothers Of Metal. Bit of a misnomer as one of the three vocalists (Ylva Eriksson) are female. Onstage, there are eight performers, three voices (clean, growls and female), as well as a trio of guitars! 

Good thing they were housed on the giant, main stage, which is decorated with axe wielding gargoyles, keeping watch, from each flank. "Death Of The God Of Light" kicks off and the guys race around the large expanse, as the vocalists trade off verses, with Eriksson handling the majority of the leads. The music is pomp filled power metal. During follow-up "Prophecy of Ragnarök", they align four abreast. To introduce "Njord", Mats Nilsson, the rotund singer with oversize medallion (or is that a shield around his neck?) says it's cold and we need to jump around to warm up. Nothing could be further from the truth, as many Northern Europeans are sweating profusely and cowering in the little shade they can find. 

Slower, and beginning with piped in keyboards, gave them one more to solidify the early positive vibes. Cue upbeat "Ride Of The Valkyries". When they keep the pedal to the metal (pun intended), they're at their best. Kitschy, fun festival band. Their first post-pandemic album (third overall), Fimbulvinter, will be released November 1, but they still included its "The Other Son Of Odin", which was a stand-alone single, a couple years back.

On the complete opposite end of the spectrum, is the technical death metal of Obscura, with little, to no, stage presentation. It begins subtlety, with the bassist, alone onstage, offering a tuneful melody that morphs into full-on, twin guitar growler, "Forsaken", courtesy of Steffen Kummerer (he of the asymmetric red guitar). With one foot on the wedge monitor, helping to balance his instrument, images of the late Death mastermind, Chuck Schuldiner, leapt into my head, as I listened and watched a brief jazzy interlude appear. "Emergent Evolution" came next, a complete hyperblast, apart from some tasty tapping. Green light for "Mortification Of The Vulgar Sun", then yellows, as the trio of non-drummers headbang in unison, to begin the gurgling, guttural "Devoured Usurper". 

Did take a gander at former Fastway/Katmandu singer Dave King, fronting Celtic pop-punkers Flogging Molly. With eyeglasses, left-handed acoustic guitar and a bit of upswept, pompadour hairdo, he bears no resemblance to the long, raven haired rocker of yesterday. Talk about reinventing yourself! 

More technical death, Meshuggah was backlit and next to impossible to photograph, so watched less of their set than anticipated. Also found out that old friends, HammerFall, were onsite, first for an impromptu signing session for Avenge The Fallen (which was released that weekend) and then for a short, unscheduled, greatest hits set, on the small Tool stage! 

The Swedes had co-headlined the main stage, just a year ago. "Heeding The Call" is rousing starter, but most fans are in on the secret now, having found the otherwise, out-of-the-way stage. Oscar Dronjak, in an animal rescue t-shirt, is his usual animated self. The tall lanky blonde guitarist over-emphasizes his strumming of the guitar and throws the horns, once he stays put. "Any Means Necessary" follows. There are risers, either side of the drums, used by the guitarist as well as frontman Joacim Cans. Crowd sung "Renegade" is a fun moment, both sides of the barricade. Initially, for newbie, "The End Justifies", the stage is deep blue, with Cans singing from the stage left riser. Dronjak is center stage, with his Hammer Of Thor shaped guitar. 

Get to see most of the set, but wading through the crowd and heading to the T-stage for Pain means missing the last couple of songs. Oh well, saw a headlining Philly club show and the NYC date with Helloween, on successive nights, last year, but did talk to the guys, backstage, before they left the festival. Hope to see you, again, soon.

Peter Tägtgren has been a friends of BraveWords since the days of the Nuclear Blast office in Philadelphia, hanging with him and his Hypocrisy bandmates at various stops (in the US office, Dynamo '99, 6-Pack Weekend), as well as Pain, in Germany, UK and Finland. So a couple of photos and a bit of press were in order. The staccato "Same Old Song" opens. In something of a tattered/mummified straight jacket, the singer/guitarist is center stage, backlit under blue lights that are dulled by swaying, bright white searchlights shining directly into audience's face. Eventually he takes the mic and wanders, a bit, refusing to be tethered to one place. 

The green bathed industrial drone of "Push The Pusher" sees some pinwheeling hair, and another counterpoint of pulsating white strobes. Much like the opener, stomping "End Of The Line" returns to the blue on white motif, a couple of gruff, nearly Hypocrisy intensity words/screams from Peter and plenty of headbanging. By "Suicide Machine", with a spoken voiceover, Tägtgren has ditched the coat, more comfortable in shirt sleeves, as the narrative also frees him to move away from the mic, for extended periods. The near silence between the end of "The Great Pretender" and the start of "Go With The Flow", hard to believe it's a Pain show. 

The singer appears in floppy bucket hat & matching Hawaiian shirt, for the later, his band in pandemic era, protective Tyvek body suits and respirators, plus conspicuous keytar. Later, as beachballs pop across the crowd's head, "Party In My Head" is a true multi-color, disco light spectacle (and I'm not talking about the pattern on the bassist's shaggy coat). Not to be outdone, the guitarist adopts a ZZ Top style, white fuzzy guitar and shades to match! Something different, musically and visually, from his "day job," in Hypocrisy, but I guess that's the allure.

Sort of disappointed by the relatively small turnout for Enslaved, but they DID start at 1 AM. The Norwegians began with knob tweaking, at the central mic, from Grutle Kjellson, as they launch into "Kingdom". Hard to believe this is the same band (albeit with just a few of the principle characters) witnessed at the Milwaukee Metalfest, for their US debut, in 2000 (still have hard copy photos, somewhere!). Of course Ice Dale was not a part of that line-up (known to his parents as Arve Isdal), the shirtless guitar has all the rock star cred/poses: playing splay legged, bending backwards with the instrument overhead, playing vertically. 

He's a great addition (hence he is/has been in several other projects as well: Audrey Horne, I, etc.), visually, as well as a talent. As a bank of white strobes flash, from above, he takes over the throbbing "Homebound", which adds some vocals from the drummer. A more pensive "Ruun" sees the band in virtual darkness, while "Congelia" is a stormer, start-to-finish. As the show continues, the hour pushed towards 2 AM, so I left the remainder to the fans. Save some for tomorrow, as we begin the Odyssey home (sometimes it feels like Homer's tale of perseverance and persistence). 

Probably surprises no one that we don't camp onsite, but rather stay in the nearby town of Dinkelsbuhl. It's a picturesque village with houses dating back to the 1600s, if not before (as it wasn't bombed during World War II, so it's a constant must-see stop on the old folks bus trips through southern Germany). The fest provides a free shuttle between the grounds and the town, roundtrip, during the day. At night, it costs a few Euro per person and runs on the hour, after midnight. While we could have taken that, we waited for a cab, from the backstage area. Heard of a one-horse town? Well, tonight, Dinkelsbuhl was a one cab town as we had to wait for the cab to make its run, then return (almost an hour). Same driver, who claims to remember me from last year. Well, recognition didn't help jump the late night queue!

More photos: Day 1.

DAY 2
Had actually heard yesterday, that Evil Invaders canceled (issues with Joe's throat), which meant not much on the agenda for the day. Early on, reconnected with Nergal and Behemoth, who received their "Bands That Built Bravewords" hockey jerseys and added more signatures to Metal Tim's record collection. Actually met Nergal in 2001, as part of a Saxon/Kreator studio junket, in Germany (he was covering the event as a Polish music journalist) and our paths have crossed innumerably, since. He always acknowledges my presence in the photo pit, even if we don't actually meet before/after the show. Amazing how mild-mannered the guys are without their corpse-paint, because once they get onstage, it's (devilish is too easy) maniacal, especially Orion, who appears to stare right into your soul, armed only with a bass. 

So the time came (albeit still daylight), the main stage wasn't big enough. The Poles had two elevated "balconies", either side of the stage, which allowed them to tower over the crowd, from a height of eight feet above stage level. Initially, a white sheet hid the band, but once dropped, the fireworks began, quite literally. Behemoth had a small arsenal of pyro, given the assemblage a feel as close to combat that anyone would want. The fiery explosions not just launched skyward, but also at opaque angles and in multiple directions, simultaneously. OK, the song is entitled, "Ora Pro Nobis Lucifer", but that doesn't mean they have to recreate Hell, onstage. Damn! 

Nergal, a slight, skeletal figure, with booming voice, leads the crowd in chant, as the swirl of drums (Inferno still on the mend, so fill-in) kicks into rhythmic workout, highlighted by the "Thine is the kingdom" chorus. From behind his double cobra bedecked dais, you can see Nergal's eyes light up, as he plays, drawing energy from the music, crowd, and pyrotechnics. The song ends with Seth and Orion, face-to-face in front of the kick drums, which suddenly are ablaze. 

For a brief moment in the hypnotic, barked vocal "Conquer All", the two guitarists get together, stage right. Otherwise, Nergal is up on the drum riser, out front on a shadowbox, bent at the waist, tongue flickering. It is one of only two tunes today that does not include pyro. Banks of strobes fire and stage fog/smoke erupts, as all three players are on the drum riser, to start Ov Fire And The Void". 

It ends in a conflagration that sees some of the largest mushroom cloud fireballs yet, as well as repeated, five pronged eruptions. Announcing a 33rd anniversary, Behemoth dips into the bag for "Cursed Angel Ov Doom", which originally appeared on the endless Damnation demo ('92), the band using pseudonyms, but not the ones to which the world is now accustomed. Seth and Orion play from the overhead lofts, throughout: The shortest offering today is the last without an accompanying firestorm. Good to see "Christians To The Lions" back in the set, as Seth and Orion walk onstage with flaming torches and the bassist blows a couple of lames (ala Gene Simmons/KISS). The bassist is a punishing bruiser, look at him directly, if you dare!  

Blare of trumpet greets the blue/purple illuminated "Demigod" (another oldie, but goodie), which sees the guitar tandem side-by-side, for just the second time. Masked, in hooded cloak for "The Deathless Sun,  sees Nergal's in ornate, black miter headdress for "Bartzabel". The former sees repeated burst of flame shoot across the stage, while Seth returns to the "rafters" on the latter. Back to "normal," no fancy get-ups, for "No Sympathy For Fools" (is there a better motto for this band and the main man, given the troubles he's endured, at home?), just pure speed/aggression. Oh yeah, and more fire! Towards the end, Nergal is sandwiched between Seth and Orion, the trio synchronized headbanging, center stage. 

Speaking of flames, "Chant For Eschaton 2000" (blood dripping from their mouths, easily visible against the white corpse-paint) seems to replicate what has come before, in that it unleashes as much mayhem as all that have come before it, COMBINED. Wow! Unrelenting. It's the final big send-off, before the "O Father O Satan O Sun!" finale. Returning to the stage, under pre-recorded intro, Nergal is in a red ecclesiastic robe, blood now smeared all over his face. Later he'll don a death mask too. One of the best performances of the entire festival: original, high energy and one of the most entertaining shows out there. Eat your heart out, Taylor Swift.

Certainly had my fill of Rotting Christ of late: two shows on 70K last year, then Hell's Heroes, Tons Of Rock and Summer Breeze, in 2024. Good thing the Greek stalwarts have released a great album (Pro Xristou) in the meantime. Familiarity, the late hour and getting prepped for Dark Tranquillity, meant I only saw a portion of the set, but early on, "Fire, God And Fear" packed a punch.

The Swedes debuted three new cuts from Endtime Signals, which was released that weekend (also held a signing session on the grounds, where disc was available a day early). Told Mikael Stanne that he's one of the most difficult guys to photograph, never staying still for long and moves at irregular, obtuse angles. 

Tonight, they started with well-known "The Wonders At Your Feet", the band in dark blue, with light blue highlights, as Stanne wanders from side to side. Pink/purple "Terminus" kicks things into a higher gear (faster, heavier, staccato), as Stanne walks out to the farthest reaches of the wings, leaving the stage, which features a backdrop that says "Death". 

From the crowd, the stage looks black for "Therein", except for a jagged, gold sound wave that bounced on the screen, behind the band. Eventually, there's enough light to make out the musicians, as the trademark, fist pumping, guitar riff takes hold. 

Keeping the pace upbeat, there's a thrashy, red lit "Lost To Apathy". First newbie, "Shivers And Voids", fit, sonically. Hunched over, side-to-side headbanging from Stanne, to start "Unforgivable". Plenty of tasty guitar runs in this one. Speaking of "runs," the frontman paces around, under red/copper lights. A seemingly searchlight ballet, sedate intro music on a black stage, to begin the live debut of "Our Disconnect". 

Blues and reds as the music gradually gets louder, while a video plays on the screen behind the band, as well as the Jumbotrons that flank the stage (intercut with live shots of the band). Personally, feel it will translate better in a smaller, club/theater setting. Time will tell. Next up, another new one, red/purple lighted "Nueronal Fire". Much more immediate. As usual, Dark Tranquillity end with the massive "Misery's Crown". Look forward to seeing them at ProgPower USA in a couple of weeks. 

Although Metal Tim and I spoke to Exodus frontman Zetro backstage, the half hour delay to go on, for a 1 AM scheduled start time meant we would have to catch the Bay Area institution at a later date.

Additional photos: Day 2.

DAY 3
Another bright, sunny day! Lots of overlapping interests today, so not able to see any set in its entirety. Arrived a little earlier than anticipated, so the choice was Delain, or Einherjer. While I'd seen both in the last year, witnessing both special sets from the Norwegians, on the boat, opted to see how Delain have progressed. Sephora went to Einherjer and was so impressed, she told the guys, afterwards, as they were hanging out, near their dressing room. She wanted one of the two small Norwegian flags that had adorned the drum kit, during the set. The guys were nice enough to give her the pair and autograph one of them. 

As for Delain, well, "new" singer Diana Leah looks more secure and definitely more animated (even on the largest stage) as opposed to my first experience with the current line-up, but still needs to work on stage raps ("Make some noise. How are you feeling?": Right out of the box?). Symphonic, keyboard laden and poppy, she had the crowd punching air on the laidback opener, "The Cold", which concludes with confetti cannons. If you use that trick on the first song, makes it difficult for the rest of the set. Stuck around for a couple more, but the classic Nightwish sounding "Suckerpunch" resonates better than the stuff with gruff male vocal counterpoint.

Off to the T-stage, for some old school death metal, courtesy of ex-Bolt Thrower singer, Karl Willetts, and Memoriam. Most of the themes, including opening "Onward Into Battle" and "Total War", like his former outfit, concern military conflict. A two hour window in the early evening was devoted to the Captain's Dinner, an invite-only, world class  smorgasbord (beef, salmon, shrimp, pulled pork + vegan options and unlimited drink) put on by the organizers, for various supporters of Summer Breeze (BraveWords, include). 

So we missed Feuerschwanz, on the main stage and made our departure, just in time to see Amon Amarth. Man, what a production, combining the sets they've used on the last two North American tours, depending upon the size of the venue: the horned Viking helmet, with drummer atop and the guarding "stone" carved sentries at each end of the stage. Add plenty of pyro and a killer setlist, easily the best concert of the festival. Years past, when a band used pyro, the photographers were relegated to ground level, out of regard for safety. Typically, there's a special perch built into the mainstage, where we are at virtual eye level with the performers. Things were different this year, allowed to get close-up, despite the fireworks. Glad I already had a deep tan, otherwise the heat alone would probably have given me a sunburn. Intense!

So they started with "Raven's Flight", a small sampling of what was to come, in terms of sonic battery, as well an overwhelming pyro display: a half dozen repeated, small fireballs and eight vertical flame torches. Sometimes they alternate eruptions, others in unison. Although more mid-tempo, red/copper lit "Guardians Of Asgaard" ramps up the heaviness.  The rhythmic "Pursuit Of Vikings" sees burly, bearded frontman Johan Hegg bouncing up and down and sees all four non-drummers atop risers at the lip of the stage. The horned, bug-eyed Loke appears, alongside the band, during "Deceiver Of The Gods", the third "classic" in a row. 

Initially smoke explodes upwards from various points on the stage. Tens of thousands singing "whoa whoa" is unbelievable. Call it melodic death, or speed metal, regardless of label, it's one of their best, Hegg spilling the lyrics rapid fire. Twin leads for the green hued "As Loke Falls", which sees all four, center stage, including an air guitaring Hegg. There's a glint in the singer's eye as he recounts the mythological backstory to "Tattered Banners And Bloody Flags", as pair of flag bearers wave their banners from behind the band. 

While poppy "Heidrun (goat tale, dancing in circles?) does nothing for me, the audience participation (sitting down and rowing to) "Put Your Back Into The Oar" is an amazing visual. As soon as the video screens displayed waves, people were already moving into place and yelling "row". But in a venue of this size, at night, much of the eye-level impact is lost. Check out a drone-view, online, to witness the true scope. The band retreats to a level, back near the drums, on "The Way Of Vikings", as a pair of armed/costumed re-enactors commandeer the stage, for battle. Once the score is settled, the musicians move down front. 

More restrained "Under The Northern Star" begins as a clap-along. Point from his stage front pulpit, Hegg literally unleashes a multi-directional firestorm in "First Kill". Axe wielding re-enactors (no fighting) for "Shield Wall" and kitschy "Raise Your Horns" (the whole band imbibing in drinking from ale horns: cue "Noch ein bier" chant!) finish the proper set. They return for a two song encore, ultimately ending with "Twilight Of The Thunder God". After Hegg slays the giant (inflatable) sea serpent, with the hammer of Thor, the final send-off is a curtain of sparks, descending like rain on the band, each member poised on a shadowbox. 

Earlier, had a lengthy discussion with Cradle Of Filth/Aether Realm guitarist Donny Burbage, realizing we've probably been at many events, simultaneously, but never met before today. Speaking of Dani Filth's brigade, caught a bit of the T-Stage show, beginning with "The Fate Of The World On Our Shoulders". The singer started in the back, near the drum riser, before moving to a elevated platform, center stage. Plenty of stage fog shrouded the band. Stuck around until they got to classic "The Principle Of Evil Made Flesh", before hightailing it across the field, to catch the end of Amon Amarth and get ready for Lordi, a more photographic lot. Mr. Lordi had faces on his knee pads, the mouths moving, as he walked. The Finns used a little pyro themselves, but after the Swedes, all would pale in comparison. 

Seph watched some of Moonspell, which could be heard from the backstage area, but the 2:15 AM start for Necrophobic (who we had hung with earlier) was, sadly, out of reach.

Additional photos: Day 3.

DAY 4
The late night precluded seeing Nestor, first thing, but have viewed them on two other occasions. Fun, in small doses. Arrived on-site to catch a portion of Eclipse, on the main stage. Erik Mårtensson had the Saturday afternoon crowd eating out of his hand. "Saturday Night (Hallelujah)" maintained the party mood most were feeling. The ballad, "Anthem" offered a brief respite. Mårtensson beginning alone, on guitar, eventually becoming a three part vocal harmony, with just a second guitar. New single, "The Spark" got things jumping again. Orden Ogan was next on the big stage. Initially, a character claiming (via voiceover) to be Alister Vale, strolled onstage. 

Once he departed, the band kicked into one of their best known numbers, "F.E.V.E.R.". Singer Seeb Levermann, he of the futuristic get-up, asked the crowd for help, with a call & response section. Half the audience shouted "Moon" the opposite side, "Fire". Together the two comprise the title to one of the Germans' songs. Initially, plenty of pyro, but one defective pod was only partially igniting, spewing the rest of the accelerant on photogs, clothes, cameras, so it was time to watch from afar. The remainder of the set (with spurious "Noch ein bier" chant), including sing-along "Gunman", was culled from throughout their catalog.

Next, Burning Witches, who had returned from a handful of US dates, including a headlining gig at the Rock And Roll Hall Of Fame, in Cleveland, Ohio. I've watched the Witches shuffle line-ups and grow, from a novelty act (all Swiss girls, at Bang Your Head) to a multi-national force who can really perform. This was the first time witnessing ex-Iron Maidens axeslinger Courtney Cox (no, not the Friends actress) in tow. Her ability and stage presence is a real upgrade. 

Front and center is Dutch treat, Laura Guldemond, who possesses a voice capable of the demure (although rarely has to), as well as peeling skin off the bone with caustic throated aggression. "Unleash The Beast" opener might just be her onstage mantra, stalking around the stage and interacting with a willing crowd. Jumping karate kicks with her heavy soled boots, watch out! Jumping and headbanging, the two inch spikes that line her gloves (Fistful Of Metal!) and run down her abs threaten to scratch or claw any unsuspecting band member. Speaking of which, each opts for a different, neon colored instrument. 

The girls exchange places frequently and Laura likes to flash the horns to the crowd. After "Wings Of Steel", "Dance With The Devil" retains a more commercial sound. Right now, they're the only band on any of the stages, so one can hear them from across the field. "Hexenhammer" turns serious as Guldemond repeatedly punches the air, her eyes getting bigger with each swing, and Cox adds backing vocals. "Lucid Nightmare" is the sound and tempo at which the gals excel, Laura jumping off the stage, into the vacated photo pit, to sing with the fans, at the barricade. "Evil Witch" is a traditional metal punch. Ultimately they end with their signature tune. Hopefully a more extensive North American run is in the cards, in the not too distant future.

Most of the BraveWords interest today was on the T-Stage, including Asphyx and legendary death vocalist, the thin, stringy blonde haired Martin Van Drunen. Plenty of stage fog (seems like it's always prominent at this venue) and the Dutchman works his way around the stage, mike stand in hand, often stopping, to put a foot atop the wedge monitors. Gotta love lyrics for the green tinted "Botox Implosion"! By "Molten Black Earth", the mist onstage had thicken to a gray blanket. Not much in the way of stage antics (it is death metal, after all), apart from some movement and Drunen's raised fist. When the singer announced "Death The Brutal Way", I was thinking about the genre (death) could only be done that way: no frills and relentless. Just like Asphyx.

Saw Sodom, twice, on the boat (70K), six months ago. Hanging in the casino (as everyone is want to do, onboard), joked with Tom that I'd never seen a Sodom set (let alone two) without "The Saw Is The Law". No such issues tonight. In fact, this was sort of a split, between what was aired on the Caribbean seas, part obscure, part Agent Orange material. It was evident that the guys onstage were enjoying themselves. They took the stage to instrumental "Procession to Golgatha", while dusk still provided some light. 

The first track requiring Tom Angelripper's voice was their signature tune, "S.O.D.O.M.", which followed. To the bassist/singer's right was Frank Blackfire, the guitarist who was there for the band's pivotal ‘80s releases. Like on the ship (and Hell's Heroes, a month later), much to my (and many others') surprise, came the back-to-back pairing of red/white lit "Jabba The Hut" and "The Crippler". In his homeland, Tom naturally spoke in his native tongue. Appearing about halfway through, the aforementioned "Saw" marked a change in mindset, the remainder of the running order seemingly dedicated to the classic/old days. Working up a sweat, Tom took off his shirt (wiped his pits) and threw the one of a kind (?) souvenir to the crowd. 

Up next? Speedy debut EP cut "Outbreak Of Evil", under a volley of strobes, with "Agent Orange" hot on its tail, injecting some of said color between the barrage of white strobes. The shirtless Blackfire left his post and quickly ventured into the now empty photo pit. The crowd response ("Sodom" chant) was more pronounced for these tunes. Pulsating spotlights break an otherwise blue stage for mid-tempo groove of "Remember The Fallen", with crowd shouting the titular chorus. Ended with the "bomb" duo: "Ausgebombt" and "Bombenhagel". 

There are heavier, nastier, faster bands, but none of them are Sodom. Long may they reign! A fitting end to our adventure, although we could hear Myrkyr (who will sing w/ King Diamond, on his upcoming North American tour) as we headed out.

Additional photos: Day 4.

Thanks to the organization for a great time. Hope to meet up again in 2025. Will you be part of the fold? Head to summer-breeze.de for information and details on Summer Breeze 2025.