Dear friends, as promised, you can gear up this week for the first batch of bands confirmed for the 13th installment of our/your Czech metal feast. And right from the get-go comes the trully heavyweight stuff, four of our headliners, three of which are returning from the postponned 2020 installment, the fourth one will visit us for the first time. So, please welcome: 


No point in dicking around. DYING FETUS are among the foremost icons of death metal. Period. Launching their career in 1991, when the death metal movement, spearheaded at the time by bands such as Cannibal Corpse, Suffocation or Obituary, was gaining significant traction, DYING FETUS soon joined this death metal elite to remain at the forefront of the genre respectably for some 28 years now. The key to their success has been, especially at the beginning, frequent live shows, ferociously energetic among other things, that soon increased the action radius of the band from the East Coast to the whole of United States. What came next is fairly straightforward to guess. While touring for their third full-length “Killing on Adrenaline”, the band saw their European premiere, as well as appearances on numerous notable festivals. Additionally, songs of DYING FETUS began appearing on various compilations, and the band went from one interview to the next. At the same time, another killer album is in the works, being unleashed at the dawn of the new millennium. Entitled “Destroy the Opposition” and released by the renowned Relapse Records, this full-length is considered by many as the best one there is in the DYING FETUS discography. On this piece, the band presented in detail the cornerstones of their vision that revolve primarily around the critique of the current sociopolitical system. And it is this anti-mainstream attitude that is one of the signature characteristics of DYING FETUS and can be found in plenty on other subsequent releases, of which we need to mention the excellent 2012 full-length “Reign Supreme”, as well as the latest offering “Wrong One To Fuck With” (2017) that raises the bar of sonic extreme a lot further. The album is loaded with brutal breakdowns, dynamic interplays and complex vocal structures. It also confirms the position of DYING FETUS as the dominant force of contemporary death metal, and on MGCDF 2022 you will see for yourself that these are the wrong guys to fuck with.


THE OCEAN are one of the most striking acts of today, if only given the style they play, which in itself is so widely constituted that subsuming it under a single stylistic category is simply impossible. THE OCEAN fuse atmospheric sludge, post-hardcore and progressive metal, which entails a colorful sound mosaic indeed. The band has been hollowing such musical vision pretty much right from their inception in 2001, manifesting it so far on nine full-lengths, and presenting it on shows all over the globe, including its most remote corners. These certainly fostered the reputation of THE OCEAN, as they are always intense performances that open one’s mind towards higher wisdom, which brings us back to their music. The most recent album of this act is “Phanerozoic II: Mesozoic / Cenozoic”, the second chapter of the musical manifestation of the youngest geological eon of Earth, which picks up exactly where its predecessor left off, going through the Age of Reptiles and the current Age of Mammals. In a more general sense, “Phanerozoic II” concludes the impressive paleontological journey THE OCEAN began with their “Precambrian” full-length. Music-wise, the latest offering is more experimental and varied than “Phanerozoic I”, its themes however carry on. The central motif is again the concept of the “eternal return” that was elaborate upon probably the most by Friedrich Nietzsche, and which in short states that in the endless spatiotemporal continuum, everything is perpetually repeated over and over again. And as the leader and main composer of THE OCEAN, Robin Staps, explains, there is countless evidence for this thesis in the history of our planet, the most profound being the repeated near extinctions and subsequent restorations of life on Earth. Staps’s talk about the album’s subject matter, as well as about why we are on the threshold of the next extinction event is certainly a noteworthy read, so if interested, check out more. In conclusion it is apt to note that since “Phanerozoic” now stands in its entirety, what awaits us on MGCDF 2022 is a grandiose journey into the depths of time.


These gentlemen have always been a force of nature. Since their founding in Oulu, Finland, in the 90s, the band was involved in so many tense situations that their description would fill volumes. Cancelled shows, poisoning of the vocalist Sluti666, allegations of hatred towards the Norwegian black metal scene, problems with the “Urga-Karma” cover art that got them into conflict with Hare Krishna, and of course, criticism for overt nationalism, related especially to their “Suomi Finland Perkele” full-length and its subsequent withdrawal from stores – such is but a short list of what the band went through. What matters however is that IMPALED NAZARENE have not given a shit about any of it. Their aim has always been to unleash upon the world one hefty load of black metal anger, aggression and perversion after another. Such imperative was present already when the first demos were spawned in the early 90s, gaining for the band not only shows alongside Sentenced or Amorphis, but also a deal with the French label Osmose Productions. Their debut full-length “Tol Cormpt Norz Norz…” (1993) was thus already handled by this acclaimed label and reached the 40th place in the Finish album charts. It also marked the beginning of a lengthy cooperation, as Osmose released worldwide all IMPALED NAZARENE full-lengths thus far. As for the band as such, it has been all over the place since the 90s, from grand tours alongside iconic names of the extreme metal scene and unforgettable festival performances, to heated arguments within the band, leading to fights, as well as regular bans of either their shows or their albums. None of that could however derail the march of IMPALED NAZARENE. Metal is what matters and the rest is subject to the proverbial middle finger. So, if you dare, get ready for the triumphant return of these Finns to Czech Republic, with a new 13th full-length "Eight Headed Serpent" no less that was released after seven years of silence. There will be no shortage of satanism, sexual perversion and of the famous “goat songs” on MGCDF 2022!


The Swedish death metal scene is a monument in and of itself, and the legendary VOMITORY are its foremost heralds. Formed in 1989 around the guitarist Urban Gustafsson, these gentlemen have been unleashing upon the world, form the get-go, one straightforward brutal death massacre after another. They paid no heed to the stagnation of the genre in the mid-90s and instead of shifting their musical direction elsewhere, they struck with the 1996 debut “Raped in Their Own Blood” that brought in a lot of respect for the band, as well as a solid fanbase. Further progress came with the second full-length “Redemption” that not only enabled VOMITORY to tour alongside Cannibal Corpse in Europe, but also brought them under the wings of the established Metal Blade Records. And it was there that their seminal album “Revelation Nausea”, wherein their musical direction was polished to perfection, was released in 2001 to great success in stores and on stages, including many prominent festivals, with VOMITORY appearing alongside such notable acts as Vader, Marduk, Nile or Deicide. Such a drive continued in the following years and the band was regularly releasing one killer album after another. Alas, the steady flow of new offerings came to a halt in 2011 with the so far last full-length “Opus Mortis VIII”, which was nonetheless a testament that even after more than 20 years, these Swedes lost nothing of their intensity, aggression and fury. That said, in 2013 it appeared that the story of VOMITORY came to a definitive close. We all know however that things ultimately took turn for the better. First, in 2017, the band made a special appearance on Summer Breeze Open Air. Then, a year later while celebrating their 30 years on the scene, VOMITORY officially came back, spreading since then the Swedish death metal of the highest quality on stages far and wide. And we are of course delighted that in June 2022 we will have a chance to sample their craft as well!

Enjoy a more bands soon!

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