Brutal Assault is boldly expanding its musical catalogue, inviting an increasingly diverse selection of interesting artists to the Josefov Fortress. At the same time, the festival has managed to enlist some of its older staples, resulting in a killer lineup. There were multiple clashes to contend with, unfortunately, but that is to be expected with such a strong bill.
Japanese COFFINS deliver death and doom metal that is thick, nasty, and gloriously slow. Their sound might be a little old-fashioned, but we see absolutely nothing wrong with paying tribute to your elders. There is something deeply satisfying about their heavy, dragging riffs, which seem to trigger an automatic headbang response. If your head starts moving on its own during their set, you know things are going well. COFFINS released their album “Sinister Oath” in 2024, followed by a split release with NEKROFILTH in 2025.
MONSTROSITY might be a little less widely known, but they are a rock-solid representative of death metal and rank among the most respected names in the genre in the United States. Their dedication and consistency are palpable, making them well worth seeing even if they are not necessarily the first band that comes to mind when discussing the genre’s biggest names. On this occasion, they performed a special set featuring material from their legendary albums “Imperial Doom” and “Millennium”, originally released in 1992 and 1996, respectively. Their latest album, “Screams from Beneath the Surface”, arrived in 2026, but revisiting these classics was a treat in its own right.
To quote our fellow photographer in the pit, “You know it’s gonna be good when some of the guys look like nerds.” We wholeheartedly agree! Bonus points if they look like polytechnic alumni. Spain’s WORMED play technical brutal death metal and sing about the cosmos. And yes, their uncompromising, incredibly heavy, and frequently tangled compositions certainly feel as though they are throwing the weight of the universe at the audience. They are not afraid to incorporate progressive song structures to spice things up, balancing them with some truly nasty gutturals courtesy of vocalist Phlegeton. The result is a punishing but fascinating experience for anyone willing to embrace the chaos. WORMED released their latest album, “Omegon”, in 2024.
Domestic melodic death metal with a generous sprinkle of melancholy feels like a comfortable and familiar choice. But let’s face it, it is difficult not to feel at home in the soundscapes crafted by INSOMNIUM, while simultaneously enjoying every moment of them. The band have long perfected their ability to combine crushing riffs with evocative melodies and an atmosphere that feels both melancholic and strangely comforting. They are also a consistently excellent live act, making this a safe bet for anyone looking to wrap themselves in some Finnish melancholy. INSOMNIUM are due to release their new album, “Netherworlds”, in the autumn of 2026, having already unveiled two singles, “Shadowlife” and “Gleam in the Black”. Their most recent full-length release remains “Anno 1696”, from 2023.
Belgium has become rather good at exporting interesting, slightly unconventional musical projects, and DOODSESKADER are an excellent example. Consisting of Tim De Gieter, formerly of AMENRA, and Sigfried Burroughs of KAPITAN KORSAKOV, the duo have somehow managed to combine heavy bass, rapping, singing, distorted synths, and unadulterated rage. And surprisingly enough, it works extremely well! Their sound is difficult to pin down, but that is precisely part of its appeal. Rather than sticking to established genre conventions, DOODSESKADER embrace the unexpected and turn it into something genuinely compelling. Their latest album, “The Change Is Me”, was released in 2026.
Poland’s VADER are among the country’s finest musical exports and, in our opinion, one of the best live bands in death metal. They operate like an extremely well-oiled tank, and every performance feels like being hit by one. Still, nobody can reasonably expect to stand perfectly still when the opening seconds of “Wings” kick in, especially when you know exactly how much hell is about to break loose. At that point, your best bet is probably to take cover.
And here we are again with our small-stage saga. To be fair, VADER would probably play absolutely anywhere and still smash it, so we doubt their egos were bruised by the placement. However, given how enthusiastically crowds tend to lose their minds during their performances, putting them on a smaller stage starts to look like a security concern. Perhaps the organisers should consider this before the next edition. VADER released their album “Solitude in Madness” in 2020, followed by the EP “Humanihility” in 2025.
If you hear post-rock or shoegaze, you might imagine a bunch of musicians standing on stage, gently wailing their sorrows into the void. Well, that is not quite how DEAFHEAVEN operate. They will metaphorically punch you in the face, make you suffer, and then leave you loving them relentlessly. They will also tear the stage to shreds while they are at it.
DEAFHEAVEN are not afraid to incorporate other elements into their sound, from the harshness of black metal to the atmospheric depths of drone music. They also refuse to box themselves into a convenient label, essentially taking the stance that they are simply DEAFHEAVEN. Honestly, that is brilliant. The entire band feels like a grenade tossed onto the stage, starting with frontman George Clarke, who is arguably one of the most intense vocalists out there. The rest of the musicians are certainly not left behind, delivering a performance that is every bit as ferocious as it is immersive. A killer show from start to finish. DEAFHEAVEN released their latest album, “Lonely People with Power”, in 2025.
AFSKY stepped in as a last-minute replacement for THE RUINS OF BEVERAST, and in our opinion, it was a fair exchange, replacing one excellent band with another. The Danish one-man project led by Ole Pedersen Luk combines atmospheric black metal with unexpected touches of Danish schlager music from the ’60s and ’70s. Add borderline lunatic vocals and generous helpings of melancholic ambience, and you get a rather distinctive musical experience.
We wholeheartedly encourage you to see AFSKY live. Despite the controversies surrounding the project, the performance itself was fantastic. Whatever one’s opinions might be outside the music, the live show speaks for itself, delivering a compelling blend of raw black metal and haunting atmosphere. AFSKY released their latest album, “Fællesskab”, in 2025.
WARDRUNA were among the festival’s headliners, representing the kind of welcome staple that needs little introduction at a metal festival. A love of metal often overlaps with an interest in folk music, history, or Norse mythology, and WARDRUNA sit at the intersection of all three. Their music also gained wider recognition through its inclusion in the History Channel series “Vikings”.
There is something about their sound that makes your blood respond to an ancient call, almost atavistic in nature. Created primarily with historical instruments, their music transports the listener to another time and place, offering an experience that feels worlds away from the usual festival chaos. Rather than simply watching a performance, the audience is invited to immerse themselves in an atmosphere built on tradition, ritual, and a profound connection to the past. WARDRUNA released their latest album, “Birna”, in 2025.
Another last-minute change brought SATYRICON to the festival, and we have to say that this particular swap was a considerable win for festival-goers, as Satyr and company replaced CRADLE OF FILTH. Personally, we see no downside to that arrangement.
SATYRICON have a standard they consistently uphold, delivering an extremely solid live performance without the need for unnecessary theatrics. Their experience and confidence are evident on stage, and they know precisely how to command an audience. Their most recent release is technically the soundtrack to the Edvard Munch exhibition, “Satyricon & Munch”, released in 2022, although their last studio album, “Deep Calleth upon Deep”, arrived back in 2017. Regardless of which era of their catalogue they draw from, SATYRICON remain a dependable force in Norwegian black metal.
Photos by Maria Sawicka
