Bergtheater, Friedrichroda (Thuringia), Germany13th June 2026
Devil Stage Festival 2026 Day 2 with Pull Out Mind, Lorning, Rabengott, Fractiles, Vlad In Tears and Klangstabil
“The Thuringian Forest is a wonderful green paradise that refreshes not only the body, but also the mind.” Alexander von Humboldt
I’d like to share my experiences of a festival that is currently in the process of establishing itself as a solid fixture within the dark music scene. We talk about the Devil Stage Festival in Friedrichroda, which took place this year from June 12 - 13, 2026. It is not an everyday experience to see major band names from the Dark Alternative scene come together here in the Thuringian Forest.
The days when the who is who of the Gothic, Rock, and Electronic scene would regularly cross paths in Bad Salzungen at venues such as the Pressenwerk and Kallewerk are unfortunately long gone. The festival is not only for well-established bands in the scene, but also includes a newcomer band contest, which gives emerging and unknown bands the chance to apply.
This year, 26 bands could be voted for via social media, and to my great delight, alongside LORNING, the mastermind project PULL OUT MIND was one of the winners. This band is particularly close to my heart, especially as it marked their very first live appearance, which they presented at the Bergtheater Friedrichroda.
Learning that FRACTILES would be playing on the same day was the icing on the cake. For those who may not know, Christoph Schauer and Max Filges of FRACTILES are also both integral members of MORPHOSE, and since last year Andreas of PULL OUT MIND is also part of this band project, which is distinguished by its rotating guest vocalists.
Andreas made his debut with MORPHOSE on November 1, 2025, in Halle at the “Alle für Halle” charity festival alongside GRUNDEIS, ABSURD MINDS, MORPHOSE, and VNV NATION, and I was fortunate enough to witness that event in person. It was a fantastic performance that completely turned the familiar MORPHOSE sound on its head.
Darker, heavier, with vocals venturing into screaming territory it was unlike anything MORPHOSE had presented before. Anyone who saw that show will be well aware of the stage presence possessed by the Bad Hersfeld native, and it was impossible not to be tremendously excited about his own performance with PULL OUT MIND. In the end, it was this combination of a new artist worth supporting, the festival’s proximity to home, and the chance to spend time with friends that finally convinced me to buy a ticket.
So please enjoy reading this festival review that hopefully allows you to experience it all over again in case you were part of this event. And for those who could not attend: I hope it sparks your interest to come and experience the 2027 edition of the Devil Stage Festival. The first bands have already been announced as well.
The Location
The Bergtheater Friedrichroda is an open-air venue with seating for 700 people, nestled within a former quarry in the northwestern part of the Thuringian Forest. Surrounded by woodland, every event becomes a truly special experience in nature. Its unique sound system and the large rock create an exceptional acoustic atmosphere that few visitors are likely to forget. In addition to the Devil Stage Festival, the Bergtheater hosts a variety of events throughout the year, including summer festivals, dance nights, concerts, theatrical performances, and musicals.
For example the specially produced ‘Bergteufel - Das Musical’, which is set to premiere here in the near future. The Thuringian Forest is steeped in ancient legends and hidden powers that lead into a mysterious world of magic, courage, and life-changing decisions. The musical promises to be a captivating fantasy spectacle for audiences of all ages. With a population of around 7,600, Friedrichroda is a state-recognized climatic health resort of the Premium Class category and offers the perfect combination of relaxation, natural beauty, and cultural diversity.
Festival background
But what exactly is the Devil Stage Festival, and who is behind it? After years of planning, the inaugural edition of the festival took place at the Bergtheater Friedrichroda in 2024 and was almost completely sold out. Back then, it was still a one-day event, featuring bands such as ALPHABLOCK, JANREVOLUTION, CNVX, ANTIAGE, and headliners TANZWUT. Just one year later, the festival expanded into a two-day spectacle and introduced its first newcomer band contest, giving up-and-coming artists the opportunity to share the stage with acts such as DAS ICH, STONEMAN, and X-PERIENCE.
The line-up had already grown to eleven bands at that point, and this year the number has increased to twelve. The people primarily responsible for organizing the festival are Markus Völlmer, his wife Dani, and their Bergteufel Events crew. The Friedrichroda native, who was practically born into the carpentry trade, describes himself as a self-employed entrepreneur who also works in film and television and trains carpenters at vocational training centres.
After founding the “Bergteufel Events” and leasing the Bergtheater, he became increasingly involved in the event business. Experience in pyrotechnics followed, and ultimately all of these skills and experiences provided the foundation for launching a festival of his own.
Day 1 - Friday (June 12, 2026)
Unfortunately, I cannot tell you much about this day, as a combination of a long workday and family commitments prevented me from attending despite already having purchased a weekend ticket. What I can tell you, however, is that the line-up was every bit as impressive as Saturday’s. THE OTHER opened the first day of the festival, followed by KLUTAE, FEDERHALL, BEYOND BORDER, and DIAR BLACK.
Everyone who attended on Friday had a fantastic time and praised the festival’s organization to the highest. And although the weather occasionally brought a few rain showers, it did nothing to diminish the event. You all know the saying: “There is no such thing as bad weather, only bad clothing.” True to that motto, people rocked, danced, and celebrated until around 1:00 a.m., when the party finally came to an end at least for that day.
Day 2 - Saturday (June 13, 2026)
Since I live on the edge of the Thuringian Forest, just over an hour away from Friedrichroda, the journey this time was exceptionally short and relaxed. The opening was scheduled for 3:00 p.m., so shortly before the festival opened, I met up with my photographer Kerstin, who would be capturing the evening in pictures. We gathered at the foot of the 572-metre Gottlob Mountain, which we had to climb partway in order to reach the venue.
It served as a kind of warm-up for us before the bands on today’s line-up would really get things heated up. After receiving our press wristbands, we immediately followed the sounds of PULL OUT MIND’s soundcheck. Max of FRACTILES, had already arrived to watch the soundcheck of his MORPHOSE bandmate Andreas.
“If you’re happy with it, Heiko, then we’re happy too,” Andreas could be heard saying into the microphone. “There’s definitely enough reverb.” It’s not every day that you have the chance to listen to conversations between a band and the FOH engineer. In the end, however, there turned out to be a little too much reverb after all, and once it had been dialled back slightly, the creative force behind PULL OUT MIND was satisfied. “Thanks, see you in a bit.”
To ensure that the Bergtheater would not only fill up later in the evening for the main acts, no running order for the festival was announced in advance on social media. In particular, the two winners of the newcomer band contest were meant to have the chance to perform in front of a well-attended venue. After all, the idea was to experience the music, spend a good time with old and new friends, and not to prioritise managing a precise timetable.
At this point, the Bergtheater was still fairly empty, although there were still about 40 minutes to go before the start at 4:00 p.m. After Kerstin and I got an overview from the upper rows of benches of the venue, we explored the lovingly arranged stalls, which offered activities such as archery, culinary treats including strawberry punch, homemade cake, and hearty dishes at The Pulled Factory. What could not be missing was the merchandise stand.
The well-known Thomas managed the merch items for all the bands here. And once again, he remembered his friend and merchandiser Peter Weiland, who sadly passed away in October last year, with a photo and a lit candle. After we had finished our short tour across the festival grounds, Kerstin and I looked for a suitable spot near the stage and then waited for the festival to begin. The first parking offender of the day had already been announced over the microphone. All we know is that it was a car with Berlin license plates.
At 3:58 p.m., host Jan Sauer, also known as Diver from the band MINUSHEART, stepped onto the stage, welcomed everyone and announced the first band of the day with the following words: “The first band of today is one I wasn’t familiar with before, but if you like acts such as NINE INCH NAILS, you will love PULL OUT MIND. This is the band’s first ever live performance and also the first album. Have fun!”
Pull Out Mind
PULL OUT MIND is the mastermind project of Andreas Pospiech, which I can wholeheartedly recommend to any lover of Dark Synth Rock. His debut album ‘Survival Of The Fittest’ was released on December 20, 2024, and thematically deals with subjects such as isolation, survival, hope, struggle, community, loneliness, self-reflection, and both personal and societal conflict. ‘Survival of the Fittest’ is not just a collection of songs, it is a narrative about resilience, a call for connection, and a testament to the transformative power of music.
To place it in sonic terms, it can best be described as a gripping fusion of dark synthesizers, atmospheric rock, and cinematic elements. Heavy emotional textures are seamlessly interwoven with immersive soundscapes. And although PULL OUT MIND may at first glance appear to be a one-man project, various collaborations behind the scenes contribute to making it a truly multisensory experience. Don’t miss this musical journey through the trials and triumphs of life, and make sure to follow his social media accounts. What does the mastermind himself say about his project? “This is music for everyone who never had a safe place.”
Music & Performance
At 4:00 p.m., the intro track ‘Gambit AD’ from the debut album ‘Survival Of The Fittest’ started to play. Drummer Mark Seefried took to the stage wearing a mask, and bassist Sebastian Lange also hid his face behind a mask for the duration of the entire show. Andreas had previously explained the concept to me: “The covered faces are not meant to hide the identities of the musicians, but to create a unified stage aesthetic. This also allows instrumentalists to be replaced without altering the overall visual impression on stage. If a musician is otherwise engaged and unavailable, I always have the option of bringing someone else in.”
And then he stepped onto the stage as well. “Good evening, Devil Stage!” He approached his microphone and launched his show with a “Let’s go!” shout. Curiosity among the audience was immediately sparked, and where there had just been empty space in front of the stage, the first fans of heavier sounds quickly gathered. With ‘Fake Noose’, which is a play on the term “fake news”, the first song of the setlist was performed, which in my interpretation deals with a self-created victim narrative that becomes a perceived threat but is ultimately not real.
We are free in our thinking, yet still choose lies and self-deception. We create suffering and then complain about it. The self-inflicted crises of individuals can escalate into a broader societal threat. At this point, one could get a sense of just how deeply the mastermind’s thoughts run, and with what unwavering conviction he projects them towards his audience through singing and screaming. His songs stem from real-life experiences that had to be transferred from his inner world into the external one. The interpretation of the lyrics is ultimately left to each individual listener, as everyone approaches them from their own personal circumstances.
It was clear that all three were not new to the stage; what was new, however, was performing together in this formation as PULL OUT MIND. “How are you doing, Devil Stage?” the frontman asked at the end of the song, and beyond the applause, the first cheers from the audience echoed through the venue. With a “Thank you very much!” the trio immediately led us into the next track ‘5ophia’, and for anyone wondering about the significance of the number 5 in the title, let me explain: the number 5 is associated with the five points of the pentagram. Sophia was accused of being connected to dark forces: fanatic! freak! vermin! witch!
The song therefore deals with the theme of witch hunts and witch burnings, which remains highly relevant today, as there are still societal campaigns against individuals or groups based primarily on prejudice and collective hysteria. The figure of Sophia at the centre of the song refers to Sophia Agnes von Langenberg, a nun who was executed by the church in the 17th century. She healed the sick, yet was still ostracised and sentenced to death. More and more people came to the front of the stage, and it was obvious that something had finally clicked with the audience.
The weather left nothing to be desired, and under bright sunshine more and more photographers turned their lenses toward the action on stage. That made me really happy, as opening a festival is never easy, especially when you are completely new to the scene. But something was clearly happening here, and photographers know when something has to be captured on film. Cameras were clicking, the audience was dancing, and the band, supported by a genuinely excellent sound mix, played their way deeper and deeper into the hearts of those present.
The end of the song flowed seamlessly into cheers and applause. That was my first moment of goosebumps that day, and I felt a real weight lift off my shoulders. Andreas bowed in a very gentleman-like manner; his right hand placed over his heart. “Wow, our first concert! Thanks for voting. This is our baptism of fire today.” More applause, more encouragement from the crowd, and without pause the next track, ‘Vanitas’, was launched. The singer became one with his guitar, the stage, and presumably the entire world.
Fog rose and, even in broad daylight, framed the stage in a mystical atmosphere. Andreas lives his music; it was evident in his expression, his facial movements, his gestures. Passion in performance is written in capital letters here. What moves him internally must be expressed through physical motion. The other two band members were deliberately kept in the background, allowing the front area to be fully claimed by the mastermind. The song ended as melancholically absorbing as it had begun: with the dance of black and white keys.
“Oh shit, thank you so much!” Visibly moved by how smoothly the live debut had gone so far, Andreas let us share in his thoughts before my personal favourite song was unleashed: ‘Tama’ left the speakers. I had loved this track even before I was fully aware of who PULL OUT MIND were, and that Andreas had joined MORPHOSE. The lyric line “Do we talk too much, do we go too far?” immediately stuck with me from the very first moment.
The show had been convincing on every level so far, both in terms of sound and artistically. No dropouts, no technical issues, no lyrical slip-ups, just a highly engaging, professional performance that carried a great deal of inner nervousness, though none of it was visible to the audience. The singer repeatedly closed his eyes, which likely also indicated a moment of trust in the situation, the ability to relinquish control to some extent and fully immerse himself in the moment. “It’s very beautiful here!”
With this brief statement and expression of enthusiasm, he then led us into the next track, ‘Diwo’. Diwo is a paralysing demon, a kind of depressive state dealing with guilt, psychological struggle, betrayal, resignation, and also the hope for redemption. The song is marked by a constant alternation between clean vocals and screaming parts. The recurring lyric “What have I done” was burrowed into our minds. Surrounded by trees swaying in the wind, rustling leaves, blue sky, and an engaged audience, it must have been an incredible view from the stage, further intensified by another press of the fog machine. “Thank you so, so much! Have fun, see you at the merch stand!”
And then it was already time for the final song of the setlist. ‘My Vision’, also the closing track of the album, rounded off PULL OUT MIND’s great performance. It was also genuinely fascinating to watch how engaged people were with the performance. The sheer number of photographers alone spoke volumes. They all wanted to capture the band in their portfolios, because a live debut like this is something you don’t witness every day. “Okay, this is fun with you guys!”
Andreas used a lyric-free passage of the song to share his excitement, and with “That’s how everyone wants a debut to go,” the band took a photo with the applauding crowd and left the stage at 4:25 p.m. Host Jan then returned and called Andreas back into the spotlight. He asked him how he feels. Andreas was still somewhat at a loss for words, as he was so impressed by PULL OUT MIND’s first live performance in front of an audience.
“Uh, yeah… what can I say… it really was a perfect baptism of fire. Thank you very much for that.” Jan agreed: “It was mega. If it keeps going like this, it’s going to be huge. Respect!” Andreas bowed once again with his hand on his heart, waved, and said goodbye with a “See you in a bit.” From my side as well, heartfelt congratulations on this highly successful stage debut! This is a band you should definitely keep in mind and watch out for future live dates. Don’t miss it!
Jan then took this moment to thank the audience for showing up in such strong numbers already, and he went on to announce the next band, LORNING, who would be taking the stage shortly. He also mentioned blind tickets for next year, available for 50 euros, although they were arguably no longer all that “blind,” given that announcements for LEATHER STRIP and JANREVOLUTION had already been made. // Setlist: 01. Intro: Gambit A.D. / 02. Fake Noose / 03. 5ophia / 04. Vanitas / 05. Tama / 06. Diwo / 07. My Vision
Lorning
LORNING is a Post-Punk, Darkwave, and EBM formation from Leipzig founded in 2025, signed to Danse Macabre Records by Bruno Kramm, and has already managed to establish itself within the scene shortly after its formation through early releases and its debut album ‘Other Void / Other Rooms’. The band consists of Chris Heinze (vocals), Tom Gumprecht (guitar), Rajko Gohlke (bass), Tobias Herrmann (synthesizer), and Konrad Ruda, who completes the line-up.
Musically, LORNING positions itself as a bridge between the dark roots of Alternative music from the 1980s and early 1990s and a modern, electronically shaped interpretation of these influences. The focus is less on nostalgic references and more on reimagining a sound shaped by Post-Punk, Cold Wave, and early EBM structures.
Characteristic is a dense mix of driving guitars, dominant basslines, and clear electronic sequences that together create an atmospherically dark yet danceable sound. Chris Heinze’s voice adds a distinctive, gloomy tone that integrates organically into the electronic soundscape. With their current single ‘Footprints’, the band already demonstrates its stylistic direction and its ambition to work in a way that is both catchy and atmospherically layered.
Musi & Performance
Before LORNING were up next, festival organiser Markus Völlmer made another quick check at the flame throwers, and the ongoing soundcheck of the band already suggested good things to come. At 4:55 p.m., Jan returned to the stage and declared the halfway point of the Devil Stage Festival: “Six of 12 bands have played so far. The next band was founded by various members of other bands who all are befriended, including members of KNORKATOR, DIE ART, and FREUNDE DER ITALIENISCHEN OPER. Their first album is called ‘Other Void / Other Rooms’.”
Jan left, and the intro, a spoken passage from Wolfgang Borchert’s ‘Draußen vor der Tür’, echoed through the Bergtheater. A quick Google check told me that this is a well-known play dealing with the disillusionment of a soldier returning home after the Second World War. Its five acts symbolise the protagonist Beckmann’s sense of hopeless isolation and traumatic experience. Then singer Christopher Heinze stepped onto the stage and the wavy, rock-infused track ‘Isolation’ began as a fitting transition out of the intro.
The distorted vocals immediately stood out, yet perfectly conveyed the sound LORNING create by blending EBM, Dark Wave, and Post Punk. More and more festivalgoers joined the photographers in the front rows and let themselves be carried away by the music. Christopher Heinze not only sings; he empowers himself and opens the door to a dark corridor through which themes such as depression and isolation, but also hope and compassion, come to the surface.
Even the intro and first song made it clear that this is a band on stage that requires a more in-depth engagement. When a trained Germanist creates music, it is rarely done casually between coffee and cake. “Hello Devil Stage Festival, we now have 40 minutes to tear this place down,” the frontman greeted the audience. The subsequent track ‘Secret Smile’ is the band’s very first single; a secret smile that pushes back against the noise of the world. Heinze removed the microphone from the stand to allow himself more freedom of movement.
The chorus is driving and pressing, and accompanied by guitar and bass, the frontman moved across the stage, fully immersed in his own world. The band followed up with ‘I’ll never’, a compelling, danceable track that drew more and more people toward the front. “Okay darlings, now it’s time to dance!” And the audience danced. The next song, ‘Primary’, was introduced, and by a short spoken “Thank you very much”, the singer acknowledged the atmosphere in the Bergtheater, and dedicated this song to the Devil Stage Festival crew: “You are the best!”
This track slightly reduced the tempo, though not the intensity of the expressive vocals. The lyric line ‘Stay together’ was on repeat, prompting a brief reflection on how alienated we have become from one another in this world, and how staying together often no longer seems like an option in many respects. Everyone fights against everyone else, and most of all we fight against ourselves. As visuals in the background, the band had brought a series of black-and-white photographs that changed throughout the set. At the end of the song, Chris bowed to his audience.
Song number six of the setlist quickly turned out to be my personal favourite. ‘O.V.O.R.’ is clearly an abbreviation for ‘Other Void / Other Rooms’ and immediately pulls the listener into spaces of memory, loss of control, longing, and psychological experiences at the limit. Coldness surrounds our present reality, so we create internal spaces to withdraw into, to compensate for a loss of control, to dwell in memories, and to indulge in longing. These spaces may provide relief, but they are no substitute for real life and the external spaces we inhabit.
With ‘Footprints’, the current single was then introduced, released on March 13, 2026 via Danse Macabre Records. The track came in dark and slightly ghostly and ultimately revealed itself as a relentless trip that both froze and almost ecstatically moved the audience at the same time. For this track, LORNING collaborated with Leipzig DJ and producer Konrad Duda. My gaze wandered across the audience, and I noticed that all age groups were represented, from toddlers in bright clothing to older gentlemen. Everyone was dancing, having a good time, and listened intently to what was happening on stage.
Chris blew a kiss to the audience and announced that two more songs would follow before their label colleagues RABENGOTT would take over. “We’re going a bit EBM now,” and then ‘Steine, Körper, Nebel auch’, the first German-language song of the second festival day, was launched. Those quick enough with their cameras were able to capture what was arguably the sweetest moment of the evening, when Chris enthusiastically kissed his bassist on the cheek. Unfortunately, we at Reflections of Darkness did not manage to capture that moment, but sichi_michi1603 did and shared it on his Instagram page.
Chris introduced LORNING’s final song with the words: “Thank you for everything, take care of yourselves, it’s great that small festivals like this exist. See you later at the merch stand.” ‘Kleines Herz’ felt like the closing point of a journey that LORNING had taken us on throughout the day: no matter how cold life can be, no matter how emotionless the people we encounter may seem, there is still always love to be found; love within ourselves and love in the world.
There is a great deal of emptiness, but also spaces. “Thank you, Devil Stage!” After taking a photo with the still applauding audience, the band left the stage. At 5:34 p.m., LORNING’s performance came to an end, but this is definitely a band I will continue to follow and enjoy in the future. Thank you for broadening my horizons! // Setlist: 01. Prolog / 02. Isolation / 03. Secret Smile / 04. I’ll never / 05. Primary / 06. Tears To Hide / 07. O.V.O.R. / 08. Footprints / 09. Steine, Körper, Nebel auch / 10. Kleines Herz
Rabengott
Since their formation in 2021, RABENGOTT have combined the dark atmosphere of Dark Rock with distinctive 1980s influences and a considerable dose of morbid charm. The musicians from Cologne and Aachen rely on a blend of classic genre traditions and modern accents, which they confidently unite under the banner of “New Oldschool”. The band first drew attention with their debut album ‘Love And Order’, released in 2023.
In the years that followed, RABENGOTT established themselves firmly within the dark music scene and performed at renowned festivals such as Amphi Festival, Wave Gotik Treffen, Stella Nomine Festival, and Hexentanz Festival. A further important step followed in 2024 with their signing to Danse Macabre Records. Their second album ‘Sleepwalker’ was released there on April 10, 2025.
The album’s ten tracks combine a range of musical influences, drawing from the dark elegance of The Sisters Of Mercy, the melodic expressiveness of Gary Moore, and the raw energy of THE MISFITS. This sound is complemented by an aesthetic clearly inspired by classic horror films, giving the songs their distinctive atmosphere. RABENGOTT consists of Dennis J. Sennekamp on guitar and vocals, Denise Kylla on bass, and Julian Scheer, who is responsible for electronics, keyboards, and additional vocal parts.
Music & Performance
At 5:45 p.m., RABENGOTT began setting up their props. Artificial skulls were brought onto the stage, and the control console was given a wall-like structure. Even at this point, the bassist’s outfit stood out: she wore a half jacket and half trousers, along with elaborately styled hair. All three musicians had pale face paint, immediately creating the impression of the undead.
The stage was already bathed in red light, and my first thought was that the scene somewhat resembled films like ‘From Dusk Till Dawn’. 6:00 p.m., Diver returned to the stage and informed the audience that they were about to experience a mix of THE SISTERS OF MERCY and 80s Rock. The fog cannons were activated, and the stage was flooded in passionate orange light. The pounding intro immediately captured the audience’s attention, who had now gathered again in front of the stage and in the seating area after a short break.
RABENGOTT opened their set with ‘Kinder der Nacht’, directly introducing themselves with a name that also reflects how they describe themselves. “Good evening. We are RABENGOTT from Cologne! We are very happy to be here!” Immediately afterwards, the bass of the second song ‘White Widow’ hit the audience physically, further energising the already dancing crowd. Bassist Denise played her bass with intensity, and singer Dennis matched her energy on guitar.
Now Dennis had put on a captain’s hat and humorously announced the next journey: “We’ve sailed up the Rhine just for you. That river, and a few others as well. Folks, what I’m seeing here looks good!” He then picked up a pair of binoculars and scanned the audience. Afterwards, he invited everyone to join the band aboard the submarine U1556. An echo lot sound echoed through the venue before a noticeably slower track with German lyrics began. Denise’s deep, driving bass carried the dark atmosphere while the words “Deeper. Into the darkness. Forward. Into the abyss...” reverberated through the Bergtheater.
With ‘The Spell’, the fourth song of the set followed. After the track, Dennis thanked the audience and took the opportunity to point out the current album: “Thank you very much. We brought our new album ‘Sleepwalker’ with us, released via Danse Macabre Records. You can get it at the merch stand.” The title track ‘Sleepwalker’ then opened with calm synthesizer sounds and a pleasantly melancholic mood. “Let me sleep forever” was sung into the microphone as more and more visitors moved from the seating areas towards the front to get a closer view of the stage. With ‘Love Kills’, the tempo changed abruptly.
“Do you want Rock? You get it!”, Dennis shouted into the crowd and delivered on his promise. The significantly faster track immediately set people in motion. Denise and Dennis rocked the stage together while flames rose at the edge of the platform. “Do you want it? Devil Stage, louder now: do you want it?”, Dennis challenged the audience once again. A loud “Yes!” roared back, to which he responded with a demonic laugh. For me, this was the strongest song of the performance so far. The sun had returned above the Bergtheater, and as an additional gesture of thanks, Dennis raised his guitar and turned it around, revealing the word “DANKE” written in large letters on the back.
For the last regular song, things became personal once again. “Guess what day it is today? Our wedding anniversary,” Dennis revealed to the audience. Cheers and applause were the immediate response. “And what could be better than spending it with such lovely people? It’s truly fantastic. A big round of applause for the organisation, thank you to the guys from ANTIAGE, and thank you to the Bergteufel crew! This is really a blast here. When we arrived, we were immediately stuffed with beer, sandwiches, and cookies, now that’s hospitality, folks. Thank you so much. And thank you all!”
He then bowed to the audience before announcing ‘I Saw The Night’ as the final regular song of the setlist. Overall, RABENGOTT proved to be an extremely entertaining band. Dennis repeatedly sought contact with the audience, told stories, and lightened the show with humorous remarks. This was exactly what resonated with the visitors. After the supposed finale, the musicians briefly left the stage. The first encore chants of the day followed almost immediately. Of course, the band returned.
For ‘Satans Hochzeit’, the musicians had prepared something special. While a wedding procession played from the keyboards, Denise entered the stage wearing a white, ruffled bridal dress. Dennis ceremoniously placed a blood-red bass around her, which she plugged in immediately. The staging also included a black wine glass filled with fake blood. Denise first raised it in a toast before letting the red liquid run over her mouth and bridal dress.
RABENGOTT also received support from the Bergteufel people, who stormed the stage and celebrated together with the band. The mystical figures blended visually perfectly with the sound of the song. Flames shot up once again while Denise and Dennis put their instruments on display in a striking final performance. After the song ended, the band signed off with a loud “We are RABENGOTT!”
A joint group photo with the Bergteufel and the audience followed before the performance came to an end at 6:46 p.m. I let my gaze wander across the Bergtheater, and my own impression of the show was fully confirmed: the band had entertained us brilliantly. This was what live music should be: contagious entertainment that stays in memory. Thank you for that!
Host Jan returned to the stage and had another surprise in store. Together with the organisers Marcus and Basti, he revealed the next name for the 2027 edition. After a brief humorous exchange, the answer was finally given: TENSION CONTROL from Hamburg will also be appearing on the Devil Stage in 2027. // Setlist: 01. Kinder der Nacht / 02. White Widow / 03. U1.156 / 04. The Spell / 05. Sleepwalker / 06. Love Kills / 07. I Saw The Night / 08. Satans Hochzeit
Fractiles
FRACTILES is an Electro project by Christoph Schauer and Max Filges that combines Industrial, EBM, and Dark Electro into a powerful and modern sound. The formation emerged from the collaboration between Christoph Schauer and Vasi Vallis, who released their first joint single ‘No Death Place’ in April 2024, laying the foundation for the project. After Vasi Vallis left the project in 2025, Max Filges took over his role.
Filges is not only a bandmate of Christoph Schauer in MORPHOSE, but also a long-time companion and close friend. The two have worked together successfully for many years across various musical and creative projects. As renowned film music producers, they were even awarded the German Television Award in the category of film music for their work.
Musically, FRACTILES stand for powerful beats, distinctive synthesizers, and uncompromising directness. Their sound combines the energy of classic EBM with modern Industrial and Dark Electro influences, creating an intense and contemporary sonic world. With their blend of musical experience, technical finesse, and creative passion, FRACTILES are among the most exciting emerging projects in the German electro scene.
Musi & Performance
“Are you awake? The next band will lift you from those wooden benches, even if that might not be so easy after the entertainment provided by RABENGOTT.” With these words, Jan announced the Berlin-based formation FRACTILES at 7:15 p.m. He also referred to their freshly released EP ‘Call Me Slick’ and promised Dark Electro with Industrial influences. “You’re going to enjoy this. So, make some noise for FRACTILES!”
The intro started and the two musicians stepped onto the stage. Christoph appeared wearing sunglasses and immediately greeted the audience: “Good evening, Devil Stage, we are FRACTILES, welcome!” They opened their set with its first single in band history, ‘No Death Place’. The sound immediately thundered through the Bergtheater, and the area in front of the stage quickly filled up. People began dancing, as the track instantly went straight into the body. During the chorus, Christoph leaned far forward to get the crowd ready for the song.
It was impossible to stand still to that beat. The sound felt powerful, clean, and of high quality. Christoph looked satisfied: “It’s already totally awesome, folks. Make some noise!” With ‘Control’, the dancefloor was bursting with people dancing and clapping along. Even the small, perhaps six-year-old little girl in colourful clothing and ear-protecting headphones, who was dancing in front of me with what was likely her father, seemed to have already found her new favourite band.
For ‘Mothers Eye’, Christoph picked up his guitar and adjusted one of his two microphones which are configured with different voice effects. Lines such as “I speak, I listen, I hear, I shout” echoed across the grounds while both musicians visibly enjoyed themselves on stage and were fully rocking out. The audience responded with loud applause. “Thank you very much, everyone!” Christoph called into the crowd. With ‘Eternal’, the tempo was slightly reduced. Fog drifted across the stage, underscoring the song’s intense sound.
After a brief remark from Kerstin, I also noticed that the band’s logo displayed in the background had been updated with a new font. Meanwhile, Christoph kept scanning the audience rows, seemingly absorbing the atmosphere. “Thank you!” he shouted towards the crowd. Then, ‘Echoes’ kicked in hard. Lines like “I close my eyes and walk between the lines” were carried by a pounding beat. The area in front of the stage became increasingly crowded. The audience clapped in rhythm and let themselves be carried away by the song’s energy.
Without a break, the set continued with ‘Out Of Time’, a previously unreleased song. Christoph immediately encouraged the audience to join in. “Come on Devil Stage, where are you?” Countless arms shot into the air. Cheers and applause filled the Bergtheater. Christoph stood at the front edge of the stage, repeatedly throwing his own arms up to drive the moment even further. Meanwhile, Max was putting on a real workout at his instrument setup.
With ‘Call Me Slick’, the show reached the title track of the current EP. Fog rose and orange lighting bathed the stage in an atmosphere reminiscent of fire, which perfectly matched the intensity on stage. Both musicians were visibly enjoying themselves and fully rocking out, while Christoph’s excitement about the audience reaction was impossible to miss. The applause was correspondingly loud. ‘Shot In Anger’ then began in a noticeably more subdued manner, and the vocals came out clean and unprocessed.
For a guy who never wanted to sing again, this voice was very appealing, and I hope we will hear more of it in the future. The slower track unfolded its own distinct effect while flames once again rose from the pyrotechnics. With ‘Unskinned’, the set once again shifted to heavier tones. Despite the powerful instrumentation, a melancholic undertone remained, but the techno-like beat cut through everything and lodged into our minds.
The next song ‘Crash’ developed into my personal highlight of the performance. The tempo picked up once again, and Christoph once more encouraged the audience to participate. He even stepped onto the speaker in front of him. “Thanks Devil Stage, come on!” The crowd did not need to be asked twice and made really good noise. When the song came to its end, Christoph thanked the audience once again:
“Thank you very much, we are FRACTILES, this was a lot of fun with you. We’ve got one more for you - ‘Synchronizer’! And I’d like to introduce the keyboardist here next to me - my highly valued colleague, friend, and fellow musician Max Filges. A round of applause for Max!” With ‘Synchronizer’, the final song of the set followed, almost taking on the character of an encore. Again, and again Christoph counted loudly “One, two, three, four!” and urged the audience to give everything once more. The crowd willingly complied.
Christoph shouted his final lyrics into the microphone, even dropping to his knees before climbing back onto the speaker in front of him. “Thank you very much, everyone, that was awesome!” To close the set, the two musicians walked towards each other and embraced. Max gave Christoph an appreciative pat on the shoulder. What Christoph whispered into his friend and bandmate’s ear remained their secret. Enthusiastic applause erupted, and host Jan Sauer eventually took over the microphone again: “Devil Stage, make some noise for FRACTILES!”
The volume from the audience increased once more. Of course, the two Berlin musicians also made sure to take a group photo with the crowd. At 8:00 p.m., FRACTILES’ performance came to an end. For me, this was my first time seeing FRACTILES live, and I was completely overwhelmed by the pace and the all-consuming sound. It was a massive surprise. Thank you for that! Jan then announced MINUSHEART as the next band for the Devil Stage Festival 2027 and sent the audience into a short break. // Setlist: 01. No Death Place / 02. Control / 03. Mothers Eye / 04. Eternal / 05. Echoes / 06. Out Of Time / 07. Call Me Slick / 08. Shot In Anger / 09. Unskinned / 10. Crash
Vlad in Tears
VLAD IN TEARS is a Dark Rock / Alternative Metal band founded in Italy in 2007, now based in Berlin. The core line-up consists of the brothers Kris Vlad (vocals and piano), Lex Vlad (guitar), and Dario Vlad (bass), complemented by rotating drummers such as Alex Vlad and Cosmo Cadar. A major turning point came in 2013 with the band’s relocation to Germany, which enabled a fresh start and a significant development within the European live and festival circuit. With the John Fryer-produced album ‘Underskin’ and later releases such as the self-titled ‘Vlad In Tears’, including the single ‘Feed On Me’, the band gained increasing attention within the scene and media landscape.
This was followed by numerous festival appearances, including M’era Luna, Rock Harz, Castle Rock, and Autumn Moon, as well as a European tour with THE 69 EYES. Further albums such as ‘Dead Stories of Forsaken Lovers’ (2020), the acoustic release ‘Theatre of Memories Act 1’, and ‘Porpora’ (2022) consolidated their style between Dark Rock, Gothic Rock, and modern Alternative Metal, further enriched by collaborations such as with MEGAHERZ. On August 1, 2025, their current album ‘Hide Inside’ was released.
Music & Performance
With VLAD IN TEARS, the evening on stage became noticeably more rock-driven and also more glamorous. For me, the band was completely new territory, but as I like to broaden my horizons, I approached the set with curiosity. The start of the show took a little longer than planned. The sound was repeatedly fine-tuned until singer Kris finally seemed satisfied. At 8:30 p.m., the quartet entered the stage asking: “Are you ready?” However, already during the opener ‘Not Good Enough’, Kris stopped the song after only a few seconds, saying: “Wait a second! We need to play a show! Let’s do it again.”
After a few adjustments by the sound engineer, the band restarted the track. Still, after the song, Kris asked the audience somewhat uncertainly: “Sound is good? Everything okay?” The vocals felt a little too low in my opinion, and it was not easy to pick the frontman out of the overall sound. Nevertheless, with ‘The Monster Inside’, the band seemed to have properly settled into the performance emotionally and the sound was much better.
Fog drifted across the stage, colour changes in the lighting created a coherent atmosphere, and the flame throwers on the left and right dramatically framed the musicians. Singer, guitarist, and bassist repeatedly sought proximity to each other and interacted in tight formation, while the first heads in the audience were already beginning to headbang. The next song ‘Lies’ was also well received. Kris kept engaging with the crowd and encouraged the audience to join in.
At times, he moved out of the spotlight opening up the view to the drummer, who was striking his instrument with full physical commitment. “Hopefully it’s not gonna rain, but this is a song about it,” Kris then announced ‘Here Comes The Rain’. By now, it was slowly getting dark over the Bergtheater. The audience sang along to the chorus, danced, and fully engaged with the performance. The singer repeatedly held his microphone out into the crowd. The sound had improved again by this point, and it no longer felt as though the instruments were drowning out the vocals.
A special highlight followed with ‘Running Up That Hill’. “This song you should know, so sing along and let’s make it louder,” Kris urged the audience. The Kate Bush composition from 1985 is one of the great classics of Pop history and experienced a remarkable resurgence decades later through the series ‘Stranger Things’. VLAD IN TEARS gave the song a successful Gothic Rock treatment that fit the atmosphere of the festival perfectly. In front of the stage, people were singing and swaying gently to the music.
Kris repeatedly fired up the crowd with calls like “Scream! Louder!”, before the band drove the song with full energy towards its finale. The loud applause afterwards spoke for itself. With ‘Feed On Me’, things became noticeably heavier again. Kris removed his jacket and delivered a dramatic performance. Particularly striking was the interplay between bassist and drummer, who pushed each other throughout the song. The performance reached its peak with a jump into the air by the bassist.
For ‘Your Trace’, Kris had something special in mind. He spoke about a performance at Wacken Open Air in front of 60,000 people and expressed his hope that the audience at the Bergtheater would respond with similar enthusiasm. After a series of motivational remarks, most of the crowd crouched down only to jump back into the air in perfect unison on his command. “Everybody fucking jump!”, he repeatedly shouted into the microphone. What followed was a concert moment combined with an all-out fitness session. Throughout the entire song, the audience jumped, clapped, and celebrated.
When the drummer ended the song with an extra drum solo, the crowd’s excitement peaked with passion. “Crossfit!”, Kris laughed, visibly out of breath himself. Before the final song, the band took a moment to thank the festival crew, helpers, and visitors in detail. ‘I Want This Pain’ then formed the closing chapter of an energetic performance. Once again, the audience was encouraged to clap along before bass, guitar, and drums pulled out everything they had for the finale. “Thank you from the bottom of my heart,” Kris said in farewell. Under loud applause, the band left the stage.
Of course, the first encore chants did not take long to follow, but to keep the time table running, there was no encore, but a group photo. On the suggestion of moderator Jan, the band returned and took a selfie with the audience behind. In true rock band fashion, the drummer tossed his drumsticks into the crowd, which eagerly reached out to catch them. VLAD IN TEARS finally ended their performance at 9:25 p.m. I really enjoyed this powerful Rock and Metal set, especially the Wacken pictures that ran through my mind. We are not Wacken, but we are Friedrichroda!
After the set, the host used the break to draw attention to the already available blind tickets for Devil Stage Festival 2027, priced at 50 euros. Together with festival organiser Marcus Völlmer, the next band announcement for the coming year followed as well. With a wink, “Thüringer Rostbratwurst” was first presented as the headliner before ANTIAGE was finally confirmed as another act for the 2027 line-up. Marcus Völlmer again promoted the various offerings across the festival grounds, joking that the operators of the archery stand would be particularly happy to see more visitors. // Setlist: 01. Not Good Enough / 02. The Monster Inside / 03. Lies / 04. Here Comes The Rain / 05. Running Up That Hill / 06. Feed On Me / 07. Your Trace / 08. I Want This Pain
Klangstabil
KLANGSTABIL have been a fixed part of the German electronic music scene since 1994. The duo consists of Boris May (vocals, lyrics) and Maurizio Blanco (keyboards, production), who transformed their shared passion for sonic experimentation into a unique musical project. From the very beginning, KLANGSTABIL understood music as a field of research.
Rather than orienting themselves along genre boundaries, they focused on the creation, effect, and meaning of sound. This approach resulted in a distinctive style ranging from experimental soundscapes to accessible electropop. After their first releases in the mid-1990s and the founding of their own label MHz Records in 1998, the band established an international presence.
Even after more than 30 years, KLANGSTABIL remain true to their philosophy: exploring musical boundaries and constantly seeking new forms of expression. This combination of innovative spirit, artistic consistency, and sonic diversity continues to make the duo an exceptional presence in electronic music today. After the band disappeared from the spotlight in 2016, as Boris had nothing to say anymore, KLANGSTABIL made a fulminant return at the 2024 NCN Festival in Deutzen.
Music & Performance
At 9:51 p.m., Jan announced the final act of the festival: “Are you awake? Now comes the highlight of the festival: coming all the way from Swabia: KLANGSTABIL!” The set opened with a ‘Prelude’ - a classical piece that transitioned atmospherically into the setlist and already hinted at motifs and lyrics from the following track ‘To Be Honest’. From the very beginning, Boris seemed barely containable: wearing a jacket and cap, he paced restlessly across the stage, tore off his festival wristband, and eventually removed his shoes and socks.
‘To be honest’ hit the audience right away, and the vocal delivery felt so intense, almost like an accusation. The lyrics were performed with full passion and triggered strong applause. With ‘Pay With Friendship’, the driving, pounding character continued. “I will leave this world in friendship” echoed across the grounds, accompanied by powerful, physical movement on stage. This song was also warmly received by the crowd.
‘Math & Emotion’ marked an early highlight of the set for me, as it is my personal favourite. The stage was bathed in green light, and the dancefloor was completely packed with people. The song felt like an intense outburst of anger, driven by enormous energy. The applause was correspondingly strong, while I unfortunately started to notice my back starting to hurt more and more.
Before ‘You May Start’ kicked in, the atmosphere became more conversational and relaxed. Boris spoke about bats he had seen flying over the festival grounds the night before, which prompted a response from the audience: “We’re in the forest, that’s normal!” He gladly picked up on the interaction and explicitly thanked the festival: “Devil Stage, this is abnormal. Highly motivated people who organise and shape all of this together. Everything fits together like a puzzle, it all looks great here, and I hope it survives and continues for a long time.”
The song then developed into an intense, almost existential direction. Lines such as “I know what to fight for / I don’t know what you fight for / We are nothing” were delivered with strong facial expression and gesture. During a longer instrumental section, Boris took the opportunity to refresh himself with some water. With ‘Gloomy Day’, the focus on stage shifted: Maurizio took over the microphone while Boris moved to the rear to the keys and machine setup.
“Buona sera, Devil Stage!”, Maurizio opened the track with a greeting. The Italian spoken vocals gave the piece a particular intensity, and although almost no one in the audience understood the language, the performance still conveyed a clear emotional direction, especially through the recurring “Ti amo”, which gradually became more fragile and subdued. Towards the end, the song felt almost brittle, accompanied by glockenspiel-like tones.
“Grazie, grazie mille,” Maurizio finally said, bowing to the audience. ‘Push Yourself’ then brought the focus back to Boris at the microphone. The stage was bathed in blue light while he repeatedly shouted the word “Nobody” into the mic. The track relied heavily on physical performance: Boris repeatedly dropped to his knees, held his head, stood back up, and pushed the song forward with unbroken intensity. The audience responded with arms raised up and loud applause.
With ‘Lauf, Lauf!’, an unusual moment followed. The song opened with a spoken dialogue that felt strongly documentary-like and raised questions about goals and transformation. The subsequent German lyrics were deeply emotional and charged with meaning. Lines such as “Das ist Freiheit, das ist Leben…” further intensified the impact. The track visibly pulled the audience into its atmosphere. ‘End Of Us’ continued this reflective mood without interruption. In the now fully fallen darkness, the stage and surrounding treetops appeared almost surreal.
The opening passage raised the question of a weapon capable of destroying an entire planet - a deeply unsettling introduction. By the end of the song, Boris was kneeling on stage before briefly stepping back to take a sip of water. With ‘Schattentanz’, rhythmic energy returned. The dancefloor was completely packed, the atmosphere almost trance-like. Lines such as “Dive into the woods” and “I create, you destroy” were echoed rhythmically by the audience. The choral finale in particular gave me goosebumps.
‘Twisted Words’ opened with a spoken intro about arms production and societal interdependencies, which transitioned into an increasingly intense and almost angry musical build-up. The stage was bathed in red and purple tones while the track continuously escalated. The audience responded with loud applause and clear enthusiasm. A final emotional focal point was set by ‘Love Has Too Much Audience’. The song combines personal and societal themes such as isolation and alienation. The piano passage in particular, along with the closing lines “It all starts tonight, right here, right now…”, created a quiet, concentrated moment in the audience.
Many hands were raised, and the atmosphere felt dense and almost reverent. After the end of the set, the band initially left the stage to strong applause. However, the chants for an encore did not take long to follow. KLANGSTABIL returned and performed a remix of ‘Math & Emotion’, and at 11:00 p.m. this remarkable performance by KLANGSTABIL finally came to an end. Host Jan used the closing moments to thank the audience and once again passionately promote KLANGSTABIL: “Devil Stage make some noise for KLANGSTABIL! Make some noise for Boris! Make some noise for Maurizio!”
Devil Stage Festival 2026-Klangstabil_byAileenRitte - 80 von 81The crowd gave everything once more and rewarded Boris and Maurizio with thoroughly deserved applause. I was really impressed by this performance and whenever there is a chance to see KLANGSTABIL on stage, I will be part of it. // Setlist: 01. To Be Honest with Prelude / 02. Pay With Friendship / 03. Math & Emotion / 04. You May Start / 05. Gloomy Day / 06. Push Yourself / 07. Lauf, lauf! / 08. End Of Us / 09. Schattentanz / 10. Twisted Words / 11. Love Has Too Much Audience / 12. Math & Emotion Remix
Jan then turned the focus to the festival crew and highlighted in particular Heiko for the sound and Loris for the lighting design, both of whom received strong applause. The stage then began to be set for the final band, EISREGEN. At this point, I found myself caught somewhere between absolute enthusiasm and the realization that I had to call it a night, as I was neither able to stand nor sit comfortably anymore. With over an hour’s drive home still ahead of me, I consulted with my photographer, and we decided to end our assignment in the name of music.
I can only hope that all fans of the final band were still able to fully enjoy themselves and that the Devil Stage Festival 2026 was brought to a fitting close. We had a truly wonderful evening and are very happy to have been part of this lovingly organised festival. Even though Friedrichroda is tucked away in the Thuringian Forest, the name Devil Stage Festival will spread through the scene, and we are confident that this event will continue to grow in popularity. See you next year!
All Pictures by Aileen Ritter
