Kulttempel, Oberhausen, Germany17th May 2025
Cold Temple Festival II with Grundeis, Bragolin, Morphose, Then Comes Silence
“We cannot change what happened. But it must never happen again.” Margot Friedländer (Holocaust survivor)
This live review was written at a time when all boundaries of reason and common sense are being crossed. We are witnessing, in real time, one of the world’s largest democracies turning into a full-fledged fascist state. Every day brings new, absurd headlines that a healthy, functioning mind can barely process anymore.
My bubble on social media is constantly engaged with sharing these developments, commenting on them, and reflecting on possible consequences. One question that nearly all of us are asking by now is: “Where to go when it happens here, too? Where to flee?” And then there are the daily images of the full-scale war in Ukraine - the pinnacle of human depravity and the total loss of any form of empathy. Things aren’t looking much better in this country either, where fascism is being granted open access - shamelessly and on every public stage that presents itself. It raises the question: Do clubs like the Kulttempel, which take a clear stand against the far right, even have a future?
And will the bands that played tonight still be able to create the music they and their listeners identify with - without fear of consequences? But we’re not there yet. And so, on this Post Punk scented Saturday evening at Cold Temple Festival II, we’re still able to listen and watch as four fantastic bands take the stage. This festival was launched in 2024 and there is already a timetable for the next edition. Everything revolves around Post Punk, Synthwave / Synthpop, Gothic Wave and its offshoots.
As Alex from THEN COMES SILENCE already said during their performance: “Kulttempel is one of our favourite venues.” And he’s not the only one who thinks so - the Kulttempel in Oberhausen is definitely one of the most sought-after music clubs in the Ruhr area. But if you think concerts are the only thing happening here, think again. Flea markets and parties of various kinds also regularly fill the event calendar. The small adjacent building, a former locomotive shed of the Turbinenhalle, has a rich history.
It used to be known as the “Starclub” and “Saint” before Peter Jurjahn took over the premises in 2011 and turned Kulttempel into the pilgrimage site it is today. Peter is tirelessly working to improve the building’s infrastructure, for example by adding a wheelchair ramp that makes the club fully accessible to all visitors. Above the club, there are, among other things, a recording studio and several rehearsal rooms. Currently, Peter is looking for new team members. So, if you’re interested in helping out with the cloakroom, ticket sales, bar, or general service tasks, check out Kulttempel’s website and apply.
Grundeis
Founded in 2018 and based in Hamburg, the quartet GRUNDEIS delivers finely crafted Post Punk infused with unmistakable Gothic and Shoegaze elements. Fronted by singer Laura Müller, the band released their debut album ‘Amygdala’ in 2021, which received very positive responses from both press and listeners. The success of that record, as well as their follow-up ‘Every Second an Ocean’ released in 2024, has taken GRUNDEIS to over 100 shows on stages large and small across the music scene. They have played festivals such as Wave Gotik Treffen and, most recently, the Cold Temple Festival, supported acts like LEBANON HANOVER, CHRISTIAN DEATH, EZRA FURMAN, and also performed as headliners.
The band skilfully combines powerful Noise Rock, gritty Post Punk, and dreamy Shoegaze ballads into a distinct style, especially carried by Laura’s captivating voice, which shifts between fragile delicacy and raw intensity. GRUNDEIS are considered one of the most sought-after new German bands and are well on their way to becoming a fixture in the music industry. GRUNDEIS consists of Laura Müller (vocals, guitar), Nils Pfannenschmidt (guitar), Andreas Mann (drums), and Tobias Rutkowski (bass). https://www.facebook.com/GRUNDEIS.BAND
Music & Performance
Right on schedule, GRUNDEIS took the stage at 7 PM as part of the second edition of the Cold Temple Festival, for which around 300 tickets were sold. After the background music faded out of the speakers, the band jumped straight into ‘Bizarre’ from their second album ‘Every Second an Ocean’ following a few quick instrument adjustments. A brisk tempo filled the room, and what would remain constant throughout the entire performance was Laura Müller’s captivating voice. When I decided to buy a ticket for the Cold Temple Festival and write this live review, I knew I had quite a bit of work ahead of me; except for MORPHOSE, I hadn’t seen any of the other bands live before, and I had actually never heard of GRUNDEIS until then.
But as soon as I listened to their albums, it became clear something powerful was sticking with me, because I admit female voices don’t often appear in my playlist. I think I was, in a way, shockingly in love, because I hadn’t expected it. This was exactly what I needed: a gritty self-confidence that leaps out from every single sung word. Life is chaotic in phases and leaves deep scars; it’s frightening and leaves you alone. You just want to disappear. This was precisely the dose of resurrection that shook me back to life. I haven’t felt this alive in a long time, especially after listening to the second album over and over again. I think most of us would agree that only music can do that in such an intensive way.
From the very first song, I found myself secretly staring at Laura, noticing both her fragility and her strength as she rocked across the stage. Her bandmates kept her at the centre of attention without fading into the background. The energy was amplified by the drums, yet not overstrained thanks to the stoic calm of the bass. At the end of the first song, which finished with a pounding drum solo, the applause was still somewhat restrained, but that changed with every following track. You simply couldn’t resist that energy. More and more audience members pushed forward - the spectacle on stage was too compelling not to get caught up in it. Hugo from THEN COMES SILENCE mingled with the crowd and was clearly very impressed by GRUNDEIS as well.
The set continued with ‘Ignoring People’ and ‘Distanced Far Gone’, both tracks from their current album. This time, the instruments followed with full force. While the first song was clearly dominated by the vocals, making an unmistakable mark, here guitars, bass, and drums harnessed the sung call to ignore the opinions of those who harm you and hinder your journey to self-recognition and reinvention. Breaking free from expectations and accepting yourself is a battle worth fighting - to celebrate your uniqueness rather than lose it. With the third song, quieter tones were introduced, especially after the buzzing noise released from the speakers. Once again, it was Laura’s hypnotic voice that stood as the dominant element in the room, accented by guitars, bass, and drums.
At this point, they switched to the debut album ‘Amygdala’ from 2021 with the song ‘Vain’, which had already earned them significant attention and excellent reviews back then. ‘Vain’ is a manifesto of dark despair with overlapping wave guitars. Its vague and symbolic language creates depth and openness for personal interpretation. Before the band returned to their latest album after playing ‘Run’, a few adjustments on their instruments became necessary. Laura greeted the audience warmly: “We are GRUNDEIS from Hamburg. Great to have you all here.” Her gentle words faded into the room, and ‘Run’ unleashed energy once again, which the singer wrapped into hypnotic movements. Up to this point, it was definitely the best song of the set, and the strong applause left no doubt about that.
Since I had been given the setlist in advance, I knew that ‘Relentless’ was next - clearly one of my favourites, and apparently not just mine, as more and more people filled the room. When I let my gaze wander, I saw nothing but captivated eyes fixed on the stage, with bodies moving rhythmically to the distinctive drumming that drove this song. Pain, longing, exhaustion, hope - the emotions were riding a rollercoaster now. After a broken string, a quickly handed replacement guitar, and a brief tuning, things calmed down with ‘Strange’, bringing a gentler vibe to the room. The following track, ‘Plain Sight’, picked up speed again, even bringing the bassist to his knees.
And now, finally, it was here - my absolute favourite GRUNDEIS song, ‘Never Gonna Heal’, was launched. This track not only blasts you with that signature Shoegaze guitar sound right from the start, but the vocals come around provocatively, and the drums create a pulsing beat you simply can’t resist. This song drills itself into your ear canals and stays there. An incredibly well-crafted piece that’s a blast to experience live! And then, just like that, it was time for the last GRUNDEIS song of the evening. With ‘Bleach’, they returned to ‘Amygdala’, firing up the limbic system one last time - and no one could keep their feet still during this one. The audience moved constantly, hooked and grateful for this intoxicating performance.
As the last notes faded away, Laura thanked the band and the crowd: “Thank you very much, we are GRUNDEIS from Hamburg. Enjoy the last song and the great bands still to come.” At 7:46 PM, the quartet left the stage. Under different circumstances, there might have been encores, but the tight festival schedule didn’t allow it. Thank you for this electrifying show - I loved every second of it!
Setlist
01. Bizarre
02. Ignoring people
03. Distanced far gone
04. Vain
05. Run
06. Relentless
07. Strange
08. Plain sight
09. Never gonna heal
10. Bleach
Rating
Music: 10
Performance: 10
Light: 9
Sound: 9
Total: 9.5 / 10
Bragolin
BRAGOLIN - a name that not only evokes the famous paintings of crying boys by the Italian artist Giovanni Bragolin but has long stood for driving Post Punk and Dark Wave from the Netherlands. Behind the project is Edwin van der Velde, who fuses musical influences from several decades into a unique sound: baritone guitars, analogue synthesizers, and drum machines from the 80s meet organs from the 60s and 70s, as well as Shoegaze guitars from the 90s. Lyrically, BRAGOLIN dwells in cinematic, dark realms - inspired by post-apocalyptic stories and classic horror films. Their debut album ‘I Saw Nothing Good So I Left’, released in 2018, made a strong first statement.
The track ‘Into Those Woods’ quickly became a true scene hit with its catchy baritone melody. In 2019, the second album followed: ‘Let Out The Noise Inside’, a collaborative project with Adam Tristar, released as “Bragolin vs Adam Tristar.” Unlike typical split releases, this is a genuine artistic fusion - TRISTAR’s electronic sound meets BRAGOLIN’s dark atmosphere and distinctive vocals. Since 2020, Edwin Daatselaar has joined van der Velde as synthesizer player - together they form the current live duo. Both are also active in the band ZWARTE POËZIE. https://www.bragolin.nl / https://www.facebook.com/Bragolinmusic
Music & Performance
At 8:03 p.m., Edwin van der Velde and Edwin Daatselaar took the stage. It’s time for BRAGOLIN! After the almost ecstatic performance by GRUNDEIS, we were now in for a more subdued set - and sometimes, a minimalist approach is exactly what’s needed to re-centre yourself and truly tune in to the music and, above all, the lyrics. Unfortunately, the band had a bit of bad luck with their opening track ‘Take Us Down’ from their debut album ‘I Saw Nothing Good So I Left’. A rather loud beeping sound - technically speaking, probably feedback - just wouldn’t go away. Despite several attempts by the singer to resolve it, after one minute or so he ultimately chose to skip the song without any comment and move straight into the second one. That was undoubtedly the right call, even though ‘Take Us Down’ is a fantastic track we would have loved to hear all the way through.
Since I wasn’t very familiar with BRAGOLIN, I took some time ahead of this concert to dive into the band and, of course, their two albums. I quickly came to the conclusion that I had clearly missed out on some truly well-crafted Post Punk with deep-diving lyrics so far. ‘To Hide, To Shine, To Cross’, the second song on BRAGOLIN’s setlist, came along with just a few lyrics, but they took the listener on a profound journey - touching on themes of self-actualization and transformation, while also addressing the comfort of old habits. It’s about loss, renewal, and daydreaming, and the reference to Daedalus - the Greek inventor and father of Icarus - provides a mythological backdrop that holds both freedom and knowledge, but also danger. Icarus wanted too much and fell.
Edwin van der Velde has a piercing gaze that almost seems like a warning, and after the loud beeping was gone, it was clear: BRAGOLIN had fully arrived in their performance. With a visibly relieved “Thank you!”, he greeted the audience, and Edwin on his KORG synth joined in with a subtle smile. The applause they received was more than well deserved. Next came ‘This Grotesque Dance’, also found on their debut album. To add a touch of atmosphere, the fog machine was switched on, enveloping the two performers - both dressed in black - in a subtly mystical setting. This track, with its almost spoken-word vocal delivery, evokes the spirit of 1980s New Wave, while the understated synthesizer strings create a quiet tension. Notable here is the distinctive Shoegaze-style guitar work, which also brings the song to its conclusion. That definitely deserved a big round of applause - and the first cheers and whistles could be heard from the crowd.
Things continued seamlessly with ‘No One Ever Speaks in This House’, which struck a personal chord with me, reminding me of my childhood and adolescence - a time when many topics were left unspoken at home because my parents were never able to talk about their own pain. The song played with themes of silence and isolation, emotional coldness, alienation, and the absence of real connection. Edwin, on vocals, interacted subtly with his keyboardist here, momentarily breaking through the song’s isolation. Immediately following was ‘Charcoal Teeth and Lies’, and from that point on, no one remembered the earlier feedback issue - the sound was now perfect, and the audience was fully hooked on BRAGOLIN. Edwin confirmed the vibe with a brief “Have a good time!”
The next track shared its name with the album it appears on: ‘I Saw Nothing So I Left’, immediately followed by the title track of their second album, ‘Let Out the Noise Inside’. This song managed to draw even the last shy person from the back corners of the venue toward the stage, inviting everyone to dance to its energetic, catchy beats - a defiant movement against the distorted image of the inner and outer world, shaped by violence, confusion, and noise. The song employs strong visual and sonic imagery to reflect the psychological state of its protagonist. The repeated line “all the violence, all the sirens, all the guidance, all the silence” might suggest a sense of being trapped in a cycle of conflict and noise.
Up next was ‘I Go With You’, a track with minimal vocals that gave the instruments plenty of space to shine. Lyrically, the song explores deep loyalty and unwavering support - especially during the darkest of times. The narrator seems to say: “No matter what you do, I’m here. I go with you.” In these fast-paced times, when people often treat one another like disposable goods and are always chasing after something better, such steadfast companionship has become a rarity. We are the swipe-aside-generation - reluctant to commit, always moving on, ever satisfied and looking for someone better. Presumably due to the initial sound issues and some slight delays, ‘In Your Field of Oaks’ was skipped at this point - which was a bit of a painful moment for me, as it’s one of my personal favourites, especially because of the vocals.
So, the next song on the setlist moved up: ‘Tired Eyes Tired Feet’ came through the speakers, a track that lyrically explores the exhaustion and confusion brought on by both internal and external struggles - tired eyes, tired feet, stuck in a kind of holding pattern or endless loop. Afterward, Edwin announced, “Two more songs!” and during ‘The End Dwells in All of Us’, even the keyboardist rocked out with full energy. “Thank you very much, Oberhausen!” BRAGOLIN saved their fastest, most well-known track for last - the one that has already been streamed over a million times on Spotify: ‘Into the Woods’ closed out a rousing and deeply affecting concert.
Now the crowd was fully dancing, and the atmosphere was exactly where it should be - at its peak. A wave of well-deserved applause washed over the band, and at 8:45 p.m., Edwin bid farewell with, “We are BRAGOLIN. Hope to see you again in the future!” We will do, Edwin, we will do!
Setlist
01. Take Us Down
02. To Hide To Shine To Cross
03. This Grotesque Dance
04. No One Ever Speaks In This House
05. Charcoal Teeth And Lies
06. I Saw Nothing Good So I Left
07. Let Out The Noise Inside
08. I Go With You
09. Tired Eyes Tired Feet
10. The End Dwells In Us All
11. Into Those Woods
Rating
Music: 10
Performance: 8
Light: 9
Sound: 9
Total: 9 / 10
Morphose
MORPHOSE is an audiovisual project by Berlin-based musician, producer, and film score composer Christoph Schauer, in which a sonic metamorphosis between electronics and emotion takes place. Since its founding in 2014, MORPHOSE has stood for continuous development, where dark electronic sounds, soundtrack-like arrangements, catchy vocal lines, and dynamic drums and loops merge into a unique soundscape. The form remains in constant flux - shaped by the contributing artists and ongoing creative evolution. Originally started as an experiment with friends, the project was initially paused due to a lack of networks.
During this time, the project CYTO was created, which was however heavily restricted by the COVID-19 pandemic. In 2021, the focus returned to MORPHOSE. Christoph Schauer took the opportunity to collaborate with various vocal artists. What began as an idea for three tracks quickly developed into a full album and ultimately led to the decision to bring MORPHOSE to the stage live. In the live line-up, Christoph Schauer (guitar, bass), Arc Morten (vocals, synth), Marius Lürig (drums), and Max Filges (keys) perform on stage. Guest musicians such as Sascha Klein (NEUROTICFISH), Christian Schottstädt (FORCED TO MODE), Sven Friedrich (SOLAR FAKE), Lennart Salomon (SONO), Victorija Kukule (VIC ANSELMO), and Krischan Wesenberg (ROTERSAND) complement the ensemble depending on availability.
For those who want to dive deeper into the sound world of MORPHOSE, the following releases are especially recommended: ‘The Inexplicable Lightness Of The Dark’ (double EP, Oct 31, 2014), ‘The Inexplicable Darkness Of Light’ (EP, Oct 14, 2022), and ‘The Open Shutter’ (album, Oct 13, 2023). These works provide a comprehensive insight into the multifaceted and ever-evolving music of MORPHOSE. https://www.morphose-music.com / https://www.facebook.com/Morphoseproject
Music & Performance
MORPHOSE was the only band that evening I had previously experienced live and in action. Both times, I felt compelled to document their performances for Reflections of Darkness. By the third time now, a certain routine had naturally set in, and the initial awe at Arc Morten’s exceptional and captivating voice had settled into a more controlled appreciation. Promptly at 9 p.m., the first gentle notes of the opener ‘Open Shutter’ resonated through the venue. The stage remained dark and empty, but after about a minute, the silhouettes of Max, Marius, Morten, and Christoph became discernible as they quietly took their places. Christoph was the only one who remained faithful to the sunglasses’ ritual. “Good evening, Kulttempel in Oberhausen. We are MORPHOSE!” he announced. Morten’s soft vocals set in, and shortly thereafter, Lennart joined on stage with his guitar. His right arm was covered with a medical tape, but that did not stop him from being the energetic entertainer he is known for.
He took over the vocals amidst the audience’s applause. While the stage was subtly illuminated in blue-green hues, Lennart casually concluded the song, and immediately engaging the audience: “Good evening, how are you?” The response was too subdued, prompting him to ask again: “No, no, no, no, no - how are you?” This time, the message resonated, and the answer came back loud and clear, accompanied by hearty applause. The band seamlessly transitioned into ‘Encounter’, with Lennart further challenging the audience: “Oberhausen?” Once again, the reaction was too timid. He climbed onto Marius’s podium and exclaimed, “I can’t hear you!” The drums were already being passionately played, and during the chorus, Christoph provided vocal support.
This performance hit the mark, and from then on, the applause was anything but quiet. With the third song on the setlist, ‘Sounio’, the tempo slowed, ushering in a vacation mode. After a few adjustments, Lennart took us on a journey to the sun, the sea, and into a state of relaxation. And then - was that a gracefully executed hip swing? His qualities as an entertainer were unmistakable. The next track, ‘Spin the Wheel’, crept in with a pressing force, pulsating, pushing, and chasing you forward. Right at the beginning, there was insider production knowledge provided for everyone: “This is the first song Christoph and I created together during Corona, and we shot a video for it right after.”
The stage was now bathed in red light, with occasional green accents flashing. Once again, Christoph accompanied Lennart vocally, and then Morten joined in for the chorus. Two men in the background giving their all on their instruments, and three voices harmonizing at the front of the stage - it was a goosebump-inducing moment. The song concluded with deep red illumination, and the well-deserved applause and cheers were unmistakable. “Thank you very much, my name is Lennart Salomon, and now, over to Morten!”
The energetic SONO frontman dashed off the stage, making way for Christoph’s CYTO colleague, Arc Morten. He left his instrument at the right edge of the stage and went to the centre of the state to captivate us with the raw yet gentle power of his voice for the next two songs. ‘Control’ began - a track that starts deceptively calm, only to erupt, shaking you and holding up a mirror of introspection. It questions: What do we truly control in life? What societal constraints bind us? Themes of exhaustion, depression, self-doubt, fear, stagnation, hopelessness, being lost, reality, idealism, dreams, and facts swirl - what remains when day fades into night? The passionate stomp of the microphone maybe symbolized not just anger but a final defiant stand; a loud declaration: I’m angry, you control me, but I’m still here and won’t give up!
After this emotional outburst, Morten moved gracefully across the stage, shifting focus to his bandmates who provided the perfect backdrop for his performance. Then, following this musical tempest, he softly uttered a “Thank you” to the audience, who responded with heartfelt applause. The emotional journey continued as Morten introduced the next piece, ‘Beneath It All’. This track was my most-streamed song of 2024 on my chosen streaming platform, and deservedly so. The emotional voyage from ‘Control’ persisted; the “little, little song to sing” transformed into a storm of emotions, with side winds tossing you around, leading you astray, and overwhelming you emotionally. Poetically charged, it oscillates between closeness and distance, seeking love and unity, yet simultaneously fearing the loss of oneself when getting to close with another person.
Morten was entirely immersed for a while, and as the final notes faded, he shyly thanked the enraptured audience with a heartfelt “Thank you very much,” only to then exclaim “Christian Schottstädt!”, who was excited to entertain us with his FORCED TO MODE energy for the next two songs. With ‘Broken Glass’ a brand-new track made its debut. Christian greeted the audience with, “Good evening, finally back at Kulttempel! Brand new song. First time ever. World premiere!” Dressed in his outfit familiar from his FORCED TO MODE performances, he immediately took to the stage, joined by Lennart with his guitar, and both harmonized vocally. Bathed in white light with blue accents, the two delivered what was evidently MORPHOSE’s first official duet.
The energy from the stage surged into the audience, who eagerly embraced it. Lennart raised his arms, encouraging the crowd to do the same. At the song’s conclusion, Christian and Lennart embraced, visibly elated by the successful live debut of ‘Broken Glass’. Christian’s enthusiastic “Woohoo! Awesome!” echoed as they transitioned seamlessly into the next song. This subsequent track shifted focus from personal themes to the societal issue of the ‘Matilda Effect’ which refers to the systematic marginalization and denial of women’s contributions in science, often attributing their work to male colleagues. Christian urged, “Google it, and let’s finally break these structures. This was the first song with you, Christoph. Nice one.” The composition’s understated nature provided ample space for the lyrics to resonate, prompting immediate reflection.
Lise Meitner comes to mind - a female scientist who, despite her pivotal role in discovering nuclear fission, was overlooked for the Nobel Prize, which was awarded to her male colleague Otto Hahn. Due to her Jewish heritage, she was dismissed from the University of Berlin and fled Germany in 1938. “Thank you. Thank you, Oberhausen!” Christian bowed to the audience and continued to energize the crowd: “Oh yeah, let’s celebrate! Thank you so much!” The party continued with ‘All Comes Back to You’, a song typically performed by Sven Friedrich from SOLAR FAKE. In his absence, Christian took the lead, aligning with Christoph’s vision of having MORPHOSE songs performed by various artists. Singing, dancing, clapping, and rocking, Christian concluded his segment with a heartfelt “Thank you so much! MORPHOSE!” before leaving the stage.
To my great delight, a CYTO song was next on the setlist, signalling Arc Morten’s return to the spotlight. His compositions often feel like a form of psychotherapy, diving deep into the abyss of your soul, revealing truths that aren’t always comforting. A simple “Hi.” sufficed as introduction before launching into ‘Right Now’ from CYTO’s debut album ‘Dark Matter’ from 2018. He immersed us in his turbulent emotional world, grappling with decisions, yearning for genuine connection, and battling internal storms. The mantra-like repetition of “I can feel right now” emphasized embracing the present moment, countering the constant rumination over past and future. “Hey, thank you.” With these words, Morten concluded this emotional journey.
The final MORPHOSE song of the evening, ‘Surrender’, originally penned and performed by Sascha Klein of NEUROTICFISH, followed. Though not his own composition, Morten delivered it with equal vigour. Lennart’s guitar presence was indispensable, and this track has evolved into MORPHOSE’s party anthem. The audience danced, clapped, and sang along to the catchy chorus. Christoph ventured to the stage’s edge, while Lennart joined Marius on the podium, rocking out with the drummer. Stage lights pulsed in sync with the music as Morten energized the crowd with calls of “C’mon. Hey!” Christoph raised his arms, signalling the audience to clap along. Band and fans united in powerful vocals, bringing the performance to a climactic close. And then - it was over. Smiles adorned the faces on stage and in the crowd. The applause was resounding.
The audience chanted “Hey! Hey! Hey! Hey!” as the five band members lined up for a group photo. “Christian. Where’s Christian?” Lennart asked. “He’s got another drink,” Morten joked. Christian joined them, and the six bowed arm in arm to their appreciative audience. At 9:50 p.m., MORPHOSE concluded their performance, leaving behind a trail of exhilarated fans and happy faces all around.
Setlist
01. Open shutter
02. Encounter
03. Sounio
04. Spin the wheel
05. Control
06. Beneath it all
07. Broken glass
08. Matilda effect
09. All comes back to you
10. Right now
11. Surrender
Rating
Music: 10
Performance: 10
Light: 10
Sound: 10
Total: 10 / 10
Then Comes Silence
THEN COMES SILENCE is a Post Punk and Gothic Rock band from Stockholm, Sweden, founded in 2012 by Alex Svenson. Svenson, who also serves as bassist, vocalist and songwriter, is the only remaining founding member of the band. THEN COMES SILENCE’s musical direction is strongly influenced by tours with bands such as A PLACE TO BURY STRANGERS, as well as a deep fascination with horror and the occult. After releasing three albums in quick succession - ‘Then Comes Silence’ (2012), ‘Then Comes Silence II’ (2013), and ‘Nyctophilian’ (2015) - the band signed a record deal with the renowned label Nuclear Blast in 2016.
The subsequent album ‘Blood’ (2017) marked a significant milestone in their career and enabled them to support well-known acts like FIELDS OF THE NEPHILIM, THE CHAMELEONS, and A PLACE TO BURY STRANGERS. They also performed at major festivals such as M’era Luna, Wave-Gotik-Treffen, Amphi Festival, Castle Party, and W-Festival. The current line-up consists of Alex Svenson, drummer Jonas Fransson - who joined the band in 2015 - and guitarist Hugo Zombie (formerly of LOS CARNICEROS DEL NORTE), who has been a member since 2018. THEN COMES SILENCE is regarded as one of the leading bands of the new generation of Gothic, Post Punk, and Dark Wave.
They are known for their consistent release of high-quality music as well as their relentless touring, making them one of the standout live acts in the genre. With their seventh studio album ‘Trickery’, released in 2024 via Metropolis Records, the band continues their musical journey. The album explores themes of friendship, solidarity, and the sense of belonging within the alternative music scene. THEN COMES SILENCE’s music is characterized by an intense, dark soundscape that blends elements of Gothic Rock, Post Punk, Shoegaze, and Psychedelia. Their lyrics often deal with themes such as death, spirituality, and human mortality. https://www.thencomessilence.eu / https://www.facebook.com/thencomessilence
Music & Performance
When asked what might come before the phrase “then comes silence”, Alex once replied in an interview that it didn’t matter at all what comes before - what’s important is that nothing should follow. “Then comes silence” is, so to speak, the end. And that’s exactly how it should be tonight: the final act on the stage of the Cold Temple Festival II was THEN COMES SILENCE, and before silence would fall over the venue, the band from Sweden turned things up and made some serious noise. They had about 25 minutes to set up their gear after MORPHOSE left the stage, which I used to refresh myself with a cool drink before seeing THEN COMES SILENCE live for the first time in my life.
Then, at exactly 10:10 p.m., the moment came: the three band members stepped onto the stage. Jonas took his place at his beautiful white drum kit, while Hugo and Alex positioned themselves with their white string instruments left and right of the drums. The frontman stood out even more with his white jeans, and there was this cute little heart attached to his jacket. White was clearly a deliberately chosen colour that night. White stands for the good - and in a world as chaotic as the one I described in my introduction; you really can’t have enough statements against all the bad things in this world.
Immediately, the audience was anything but quiet - the anticipation for the final performance of the night had reached its peak. The set kicked off with ‘She Loves the Night’ taken from the 2015 album ‘Nyctophilian’, and Jonas unleashed such a thunderous drumbeat into the song that I flinched for a second. They dove straight in, no holding back, and Hugo immediately seized the moment to strike a pose for Dani’s camera with a guitar flourish. As for Alex: this was clearly a night of extraordinary voices. I am very voice-fixated: if I do not like the voice, I do not like the music at all. The beat and driving energy of this track were impossible to resist, and the crowd was rocking from the very first note. We all loved this night, there was no doubt about it.
With a heartfelt “Vielen Dank” to the audience, even German language made it to the stage. The next words “I don’t get the signal from you. I get nothing” was more likely directed at the sound engineer - who, thankfully, sorted it out in no time. “There we go” cleared the way for song number two: ‘Dark End’ poured out of the speakers. Both the album ‘Machine’, from which this track originates, and the 2024 album ‘Trickery’ have been part of my playlist for a while now, so I could sing along pretty well. And again - no chance of standing still. But this was no “dark end” yet - this was just the beginning of a powerful und unforgettable THEN COMES SILENCE show. There was a lot of love and interaction at the Kulttempel - and that would become even clearer as the night went on.
As next, ‘We Lose the Night’ crawled through the night - and it was that song that had first brought THEN COMES SILENCE onto my radar. That’s when a light THEN COMES SILENCE fever began a little over three years ago. The track slowed things down a bit after the two high-energy openers, casting a subtle, psychedelic vibe over the room. But that breather wasn’t unwelcome, considering the sweat-inducing tracks still to come. The crowd, in any case, sang along enthusiastically and swayed in time with the music. I’ll admit it: ahead of the concert, I had done my homework - diving into interviews, reading reviews of past shows, and watching concert footage. And one song in particular had stuck in my head: ‘Flashing Pangs of Love’.
It’s incredibly infectious, driving, and - especially when blasting in the car while driving - gives me the feeling that I can overcome anything, no matter how discouraging things might seem. That energy was unmistakable live: the drums crashed, the vocals cut through every corner of the venue, the bass led the way, and the guitar - once again - was expertly plucked to perfection by Hugo. The band was bathed in a flattering wash of light, and as the final notes rang out, Alex greeted us with a heartfelt: “Thank you so much. Good to be back at Kulttempel. One of our favourite venues!” Now it was time for some heavy-duty tools - ‘Like a Hammer’ kicked in, immediately followed by ‘In Your Name’. The temperature in the room rose in step with the growing excitement, and it just kept getting hotter.
Part of the stage design wasn’t just the massive red background motif that looked like a chaotic mix of carnival scenes, but there was also a spinning wheel marked with different song titles. We were about to find out what that was all about. As ‘In Your Name’ faded out, Alex unveiled the mystery: “It’s time for the spinning wheel!” The songs written on it were ‘Dead Cry for No One’, ‘Good Friday’, ‘Apocalypse Flare’, ‘Tickets to Funerals’, ‘Worm’, ‘Spinning Faster’ and a JOKER space - meaning the band could pick a song of their choice. Hugo gave the wheel a spin, and the pointer landed on ‘Good Friday’. I don’t know about the true intentions of that songwriting, but Good Friday as holiday remembers the day Jesus Christ was crucified on the hill of Golgotha, just outside Jerusalem, a day Christians commemorate as one of mourning and reflection.
“Thank you, beautiful people!” Alex called out to the crowd, just as the piercing ticking sound that opens ‘Mercury’ filled the room. This song gives a huge impression of Alex’ wide-range voice. The chorus “Extinction, it’s ugly and he lost his soul, embrace the end, embrace the end” gets stuck in your head. Curious as I am, I later wanted to know what that tiny piece on the drum set was that created this distinctive ticking sound. A good friend of mine who himself is a drummer, explained that this part is called a woodblock. The drums were now lit in a deep red - almost the same red as the cover of the ‘Blood’ album, from which ‘Mercury’ originates.
The persistent ticking, like that of a clock running out of time, set the tone for a slow-tempo track that bathed the room in a psychedelic haze, while the vocals and lyrics added a heavy, almost apocalyptic edge. The guitar was held upright, the bass showed no mercy, the lights flickered, the breath of the crowd seemed to pulse with the rhythm - and straight from that tension we were thrown into ‘Ride or Die’. At the end of this track, Alex admitted with a grin that he didn’t really know what day it today: “It’s Friday… ah no… on tour you completely forget the day… Monday, Friday - it’s all the same.”
The next two tracks, ‘Warm Like Blood’ and ‘Animals’, were also celebrated enthusiastically by the crowd. At this time, I saw singer Edwin from BRAGOLIN mingled with the audience to watch the show. During ‘Animals’, Alex let his inner beast out a little - and his bass definitely had to take a beating in that moment. The sound of the following track was completely outstanding to the rest of the songs: ‘Feed the Beast’ from the 2015 album ‘Nyctophilian’, whose cover features a Ouija board. A Nyctophile is a creature of the night, someone who feels at home in the darkness and simply wants to be left alone there.
Alex set aside his bass and moved to a keyboard setup at the back of the stage right next to Jonas. The whole thing sounded like the chaos of a haunted carnival - his voice slightly distorted, the tones eerie and surreal. It felt as if we were in a spooky roller coaster, being ambushed from both sides by sinister creatures. A single, relentless keyboard note ran through almost the entire song like a pulse, accompanied by a marching rhythm and creepy background sounds reminiscent of wild beasts - that all was like a movie playing on in my head. And then, at the end of the track, Jonas spoke his first words since entering the stage: “Thank you so much” he called out to the crowd. In the next song, ‘Blood Runs Cold’, Alex remained at the keys, while Hugo made use of the extra stage space to the right. With then ‘Rise to the Bait’, Alex returned to the bass, striding across the stage, as the lyrics “What do you think the devil’s gonna look like?” branded itself into our minds.
The world is full of devils covered under different masks. The energy in the room was electric - Kulttempel was set on fire! Then, ‘Strange Kicks’ came along with a “light malfunction”, which went unnoticed by most of the people from the audience. Once again, the crowd impressed with how confidently they sang along. As that track faded out, the pounding rhythm of the fast-paced ‘Blind Eye’ took hold. Jonas pushed his drum kit to the limit - it was practically smoking - and his bandmates drove the penultimate track to its breaking point. Then, Alex reached for the big black bag - and out came a cascade of bright red balloons, released into the room. What a colourful final wrapped in the colour of love!
With ‘Strangers’, the official final song of the set brought us back to the ‘Nyctophilian’ album. Watching the red balloons being gently nudged and dancing through the room was so heartwarming and freeing, it almost made you forget - just for a moment - how much hate exists in the world outside. We definitely were no strangers anymore after this performance. As the song came to a close, Alex and his bandmates said their goodbyes with a warm “Danke schön!” But the seamless transition into a droning sound hinted that this wasn’t the end just yet. After all, the final act of a festival line-up is often granted an encore or two. The calls for “One more song!” erupted immediately - and the band didn’t hesitate to step back into the spotlight. Frontman Alex made sure by asking through the mic: “Do we have time for one more?”
Of course we did! The spinning wheel was brought out once again to decide what would be next. ‘Dead Cry for No One’ was chosen, to which Alex responded: “We give it a try. Long not played.” At this point, the crowd would’ve been thrilled with absolutely any song - the main thing was that the band was staying with us just a little longer. Everyone danced, sang, and the red balloons kept floating through the air. One even made its way nearly to Jonas’ drum kit - but as the professional he is, he wasn’t fazed for a second.
“Thank you. You are the best!” rang out from the stage. Without much talk, the wheel spun again - but when it landed on ‘Good Friday’ again, Alex refused with a smirk to play that song a second time tonight. So, the wheel spun once more - and this time landed it was time for the JOKER. This meant the band could choose freely, and Alex decided for ‘Body Electric’ by THE SISTERS OF MERCY - a classic from 1982. A wave of frenzied applause washed over THEN COMES SILENCE as the final notes rang out. “Now is enough. Thank you so much!” were Alex’s closing words as the band left the stage at 11:40 p.m. And just like that, the second edition of the Cold Temple Festival came to an end. Those who wanted could head to the merch stand to meet the bands, chat a little, and pick up a few souvenirs to remember that incredible night.
This was a fantastic second edition of the Cold Temple Festival with a perfectly curated line-up of bands that brought immense joy and energy to the stage. I would absolutely love to see each of them live again. My long journey from Thuringia was more than worth it, especially since I managed to avoid the infamous traffic jams on German highways that Alex Svenson himself has often expressed such disdain for. Thank you, Peter for creating the Cold Temple Festival and for bringing all these lovely people together!
Setlist
01. She loves the night
02. Dark end
03. We lose the night
04. Flashing pangs of love
05. Like a hammer
06. In your name
07. Good Friday
08. Mercury
09. Ride or die
10. Warm like blood
11. Animals
12. Feed the beast
13. Blood runs cold (H Zombie Remix)
14. Rise to the bait
15. Strange kicks
16. Blind eye
17. Strangers
---
18. Dead cry for no one
19. Joker: Body Electric (The Sisters Of Mercy cover)
Rating
Music: 10
Performance: 10
Light: 10
Sound: 10
Total: 10 / 10
All pictures by Daniela Vorndran (http://www.vorndranphotography.com / http://www.facebook.com/blackcatnet)
