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Nocturnal Culture Night 2024Kulturpark, Deutzen, Germany
6th to 8th September 2024
NCN 17 Day 1 with Golden Apes, Escape With Romeo, Klangstabil, T.A.N.K., Ellereve, V2A, Welle:Erdball, Mängelexemplar, Oberer Totpunkt, TÜSN, Abu Nein, Matte Blvck, Trepaneringsritualen, AH Cama-Sotz, Ostara, Chris Dittrich, Torsten Low and Christian von Aster + Warm-up with Haujobb, The Invincible Spirit, Armageddon Dildos and Orange Sector

It’s September. Autumn is just around the corner. But as the open-air season comes to an end, summer isn’t done with us yet, treating us to temperatures around 30 degrees and clear blue skies. After last year’s water-soaked weekend, we’re in for a hot summer experience at the Kulturpark Deutzen this year.

Deutzen is located in the southern part of the Leipzig lowlands, around 7 km west of Borna and 16 km north of Altenburg. The town was first mentioned in a document from 1238, where Herwicus de Dycin (Herbert of Deutzen) is recorded as a witness in a land exchange between King Wenceslas of Bohemia and the Plaz Monastery. Until the 18th century, the area was mainly agricultural. The floodplains of the Pleiße and the White Elster rivers offered ideal conditions for farming. The region’s landscape also contributed to the discovery of lignite (brown coal). Initially, mining was on a small scale, but by the end of the 19th century, the industrial exploitation of the coal deposits began. This brought a shift from agriculture to industry with large-scale damage to the environment. Parts of Deutzen were sacrificed to the mining operations and had to be rebuilt elsewhere. By the late 1990s, lignite mining had nearly collapsed as it became unprofitable, forcing the area to rethink its economic future. Today, the abandoned mines have been filled with water, and large parts of the region have been restored to nature. Slowly but surely, a landscape of lakes and nature reserves is emerging.

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On the outskirts of Deutzen lies the Kulturpark, an eight-hectare area located in the beautiful Neuseenland region, bordered by the Borna “Adria” and the Pleiße River. In 2005, the very first Nocturnal Culture Night (NCN) took place here - back then in the summer with around 300 attendees. Over time, this small and intimate festival has become a well-established event, and next year, it will celebrate its 20th anniversary. The annual attendance has grown to about 2,500. For some, it’s become a bit too big - too many stages, too many acts. But many of those who were there from the start have stuck around, and those who’ve recently discovered it are very likely to return.

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If you haven’t been to this festival yet, the first weekend of September 2025 is the perfect chance to change that. Tickets for the next NCN have been available since 13th September at www.ncn-shop.de. There are two price categories for the weekend ticket, with or without camping. The first price tier offers a limited batch of 500 tickets each, and once these are sold out, the second tier will be released. The first band announcements will be made in October, but it’s worth getting your ticket early. The NCN crew will surely plan something special for the anniversary. Even without the big celebration, though, this festival is always worth a visit and is a unique experience.

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What makes NCN truly special is, on the one hand, the Kulturpark as a venue. Right next to the festival grounds, there’s a lake you can actually swim in. A seating area with 300 spots in the shade under trees invites you to relax and unwind. Add to that are four very distinct stages, each with its own unique atmosphere. Another highlight is the wide range of music. NCN gives the stage to many acts that are rarely or never seen in this country. Sure, there are a few big names and crowd favourites to draw in attendees, but NCN is also a place to broaden your musical horizons, discover something new, or finally see long-awaited bands live for the first time. On top of that, there are interesting readings on a fifth stage.

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Nothing about NCN is run-of-the-mill - not even the festival program booklet. It includes the running order and lots of useful information. It’s easy to keep track of the daily schedule, and with the map, you’ll have no trouble finding your way around the grounds. Even the food stalls are listed in detail, so you’ll know exactly where to find your favourite stand. Some larger festivals could definitely learn a thing or two from this. Each band also has a photo and a brief description, along with space for your own notes. This attention to detail really shows the love and dedication that goes into organizing this festival. They put a lot of thought into how to make the weekend as enjoyable as possible for their guests. This is also reflected in the culinary offerings, which are impressively diverse. You won’t find the usual festival feeding here, but rather many delicious options at reasonable prices. The value for money is definitely there. Alternative diets are well catered for too, whether you’re vegetarian, vegan, or gluten-free. No one has to go hungry or settle for the obligatory fries.

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With the high temperatures this year, it’s no surprise that the drink stands are well-frequented. But the most popular stand of the weekend had to be the Klatt ice cream stall from Frankenau. Alongside the usual vanilla and chocolate, there are also some extraordinary flavours to try. You could find nougat, butter cookie, lavender, tarragon, or pistachio-marzipan, among others. All flavours are gluten-free and homemade with ingredients from the region. The fruity varieties are even vegan, making them lactose-free as well. My NCN 2024 favourites: cucumber, pineapple, and black currant - just absolutely delicious. I really hope this stand becomes a festival staple. The daily #schobern could easily turn into a new tradition!

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A not-so-new tradition is the NCN Warm-Up Party, which kicks off the festivities every year starting Thursday at 7:00 p.m. This year, HAUJOBB, THE INVINCIBLE SPIRIT, ARMAGEDDON DILDOS, and ORANGE SECTOR performed at the grill area where the Kulturbühne is set up. Afterwards, DJ Team STRANGE keeps the already enthusiastic crowd dancing into the early hours of Friday. Unfortunately, we still had to work on Thursday, so our NCN journey doesn’t start until Friday morning when it is finally time for vacation and heading to the festival. Our editorial team, consisting of Dani Vorndran and myself, travelled from different parts of Germany. We set up camp in Borna, where the rest of our small NCN travel group - of which I’ve been a part since last year - was also staying. Big thanks at this point to our “chauffeur” Helge Röwer for the safe and eco-friendly transport.

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Unfortunately, ahead of NCN 17, there were a few cancellations. With a line-up of 60 bands, it’s almost inevitable. On 19th August, the festival had to announce that GAË BOLG and DISASTER FATIGUE had cancelled their performances at NCN 17. On 3rd September, ART OF NOISE followed suit, and the toughest blow came for IINTENT:OUTTAKE fans. The band had waited until the last moment, hoping things would work out, but on Friday morning, singer Bastian Polak had to announce their cancellation. But more on that later. First things first, but not necessarily in that order.

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Shortly before three, our little travel group arrives at the Kulturpark. First, we pick up our festival wristbands and press passes. A small line of mostly black-clad festival-goers has already formed at the entrance. There’s still a bit of time until the gates open at three, and the line keeps growing while we wait. The temperatures are summer-hot, and we’re already sweating before anything has even started. Luckily, there are plenty of shady spots and enough seating areas around the grounds. In front of some of the stages this weekend, it’s probably going to feel like being in an oven.

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We don’t have much time before the first act. The music program kicks off at half past three on two of the four stages. T.A.N.K. opens NCN 17 on the larger Waldbühne, while MÄNGELEXEMPLAR gets the festival weekend started on the smaller Parkbühne. If neither band suits your taste, you can head over to the Lesebühne (reading stage) at the same time, where Chris Dittrich reads from his poetry collection ‘Im Schatten einer Trauerweide’ (In the Shadow of a Weeping Willow). “A lyrical journey through cheerfulness, melancholy, and dullness, wrapped in playful words and biting satire. Inspired by sleepless nights and wandering thoughts, this collection invites you to linger,” according to the description on Amazon.

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We start at the Parkbühne with MÄNGELEXEMPLAR. The Minimal Electro duo draws many electronic music enthusiasts to the stage early on Friday afternoon. “A mix of love, every ingredient you can imagine, Minimal and Synth Wave”, describes the Düsseldorf-based duo, according to host Manya. Since 2011, Lilli B. and Joa H. have been making waves in the Electro underground. Today, they view the world through rose-tinted glasses. And for most artists this weekend, sun glasses are more than just a fashion accessory. Together, we embark on a journey “zu den Sternen und zurück" (to the stars and back). The light and breezy Electro melodies fit perfect for the summer weather. The audience is clearly enjoying themselves, dancing exuberantly along. A lovely start to what promises to be a wonderful festival weekend.

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I head towards the Amphibühne just before four. Before that, I make a quick detour to the Waldbühne, where T.A.N.K. is about to start their finale. Mastermind and singer Reinhard H. founded the old-school Electro-EBM project in Dessau in 2001. The band is kicking off NCN at the Waldbühne under the blazing sunshine. Unlike the Parkbühne, there’s hardly any shade here. Many of the attendees prefer to stay in the sparse shade of the stands further back or sit comfortably under one of the sunshades. The stage conditions aren’t any better - there’s almost no shade for the performers either. But the crowd in front of the stage isn’t deterred by the sun and keeps the party going. Even those in the back in the shade seem to be in high spirits, dancing and enjoying the show.

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The Amphibühne is also bathed in bright sunshine in the afternoon. Only at the very top of the back rows and on the right side, where the merchandise stalls are located, you can find some shade. Most visitors have settled comfortably there. The honour of opening the Amphibühne goes to the GOLDEN APES from Berlin. Their new album ‘Our Ashes At The End Of The Day’ was released earlier this year. On this new record, the band remains true to their mix of Post-Punk, Dark Wave, Dark Rock, and Gothic Rock. Right in front of the stage, there’s initially hardly anyone except for the photographers. Understandably so, as it’s really unbearable in the sun. This is quite unfortunate for the bands playing in the afternoon on the Amphibühne or Waldbühne this weekend. Gradually, though, a few people start moving out of the shade towards the stage. I also head towards the front but can’t stand the sun for long. I end up watching the concert from the very back. The very back! Me! That’s saying something, as I usually prefer to be right up front and in the middle of the action. Despite the blazing heat in front of the stage, the crowd continues to dance. I’m particularly impressed by the velvety voice of singer Peer. “Like a smooth red wine” the band was described earlier. A very fitting comparison.

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At the Parkbühne, the electronic vibes continue at ten to five. The name OBERER TOTPUNKT (Upper Dead Point) refers to the highest point the piston reaches during its upward and downward movement in an engine cylinder before ignition. It’s a fitting metaphor for the lyrical depths that OBERER TOTPUNKT (OT) explores. Their lyrics often deal with people at a pivotal moment in their lives. The music project, founded in Hamburg in 2006 by singer-songwriter Bettina Bormann and composer and drummer Michael Krüger, blends Electronic, Wave, EBM and Rock elements with German lyrics. While the sound concept is driven by dark, morbid soundscapes and heavy bass lines and beats, the vocals are replaced by recitations of apocalyptic poetry by front woman Bettina. The Parkbühne is almost too small for OT’s creative stage show. With all six band members on stage at once, it requires considerable coordination to avoid getting in each other’s way.

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It’s also quite crowded in front of the stage. During the soundcheck, people are already singing and dancing along. “How was it?” is asked jokingly before a brief farewell. The audience humorously demands an encore. “Langfristig gesehen sind wir alle tot" (in the long run, we’re all dead), but today we’re having a great time together. The band starts their set as a trio and is gradually joined by additional members. Sebastian Rack (guitar, bass), who unfortunately missed the recent show supporting PROJECT PITCHFORK in Magdeburg, is back with the band today. OT delivers a very creative, almost colourful, and highly entertaining show that leaves a lasting impression on the audience. // Setlist: 01. Blutmond / 02. Langfristig / 03. Rattenfänger / 04. Dia de los Muertos / 05. Alltag macht tot / 06. Hamburg / 07. Meine Welt / 08. Die Krieger / 09. Paul ist tot

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After about half of the set, I head over to the Waldbühne to catch some of the performance there. Slowly, a bit of shade starts to spread in front of the stage. Nevertheless, there are relatively few spectators. The German singer-songwriter Elisa Giulia Teschner, aka ELLEREVE, blends electronic elements, atmospheric synthesizers, and echoing guitars with her expressive voice. The introverted artist creates her own sound, a refined blend of melancholic Dark Rock with Electronic touches. After her first EP ‘Heart Murmurs’ (2020), the Munich-based artist released her debut album ‘Reminiscence’ in March 2023. The CD edition includes the singles released in between as a bonus CD. It’s a real shame that only a few people made their way to the Waldbühne. The performance really deserved more attention.

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Meanwhile, at the Lesebühne, it’s “Phantastik meets Humor - Badeenten, Maden und Neandertaler” (Fantasy meets Humor - Rubber Ducks, Maggots, and Neanderthals) with author and publisher Torsten Low. The Publishing House Torsten Low was founded in 2005 by the Low couple. Originally established as a self-publishing venture focusing on fantasy, the publisher has evolved over the years. “Fair publishing” is the motto of Torsten Low, who seeks a mix of unpublished young authors and already established writers through anthologies and novels. He only publishes works he believes can reach readers effectively. At countless events, he also reads for his authors, sometimes donning a blood-splattered apron for the cannibal horror of Cecille Ravencraft (‘In the Heart of the Spiral’). Unfortunately, I wasn’t able to attend his reading.

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As mentioned earlier, GAË BOLG had to cancel their performance today. So, the program at the Kulturbühne starts at twenty minutes to five with “Ritual music from Göta Länder”, TREPANERINGSRITUALEN. By now, the sun is low enough to cast shade over the grill area. The temperatures are more bearable, and the area starts to fill up. Due to the last-minute cancellation of INTENT:OUTTAKE, Thomas Martin Ekelund’s Industrial ritual project has the privilege of performing without “competition” from the other stages. As previously mentioned, the cancellation of INTENT:OUTTAKE is especially painful for their fans, as many didn’t know until just before the performance. The band had hoped until the last moment that they could perform. On Friday morning, they had to cancel a show for the first time in 10 years. Front man Bastian had developed an inflammation in his knee and, according to him, could “barely stand or bend his foot”. Given these circumstances, the six-hour drive to Deutzen was impossible for the musician. The band is “really sorry” about this, and so are we. We hope Bastian is feeling better now and wish him a speedy recovery. Perhaps the band can make up for their performance next year.

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Back to TREPANERINGSRITUALEN at the Kulturbühne. The Industrial / Dark Ambient project was founded in 2008 by Thomas Martin Ekelund and completed in 2017 by Dutch composer, multi-instrumentalist and engineer Peter Johan Nijland. As I wonder whether the two musicians can even breathe under the sacks on their heads, they perform their ritual relentlessly. True to the surgical procedure where a hole is drilled into the skull to access the brain (trepanation), the grim sound, hypnotic drums and growling vocals pound deeply into the brain’s folds. On one hand, it’s fascinating; on the other hand, I can’t quite get into this type of music. But tastes are fortunately varied and the audience seems thrilled. And that’s what matters. We bid farewell to the Kulturbühne and use the free time for a short trip to the Klatt ice cream stand for a refreshing treat.

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At twenty to seven, we continue with the program. The contrast could hardly be more pronounced. On the Parkbühne, we’re treated to “Sagenhaft dramatische Populärmusik aus Berlin” (fabulously dramatic popular music from Berlin) with TÜSN. Meanwhile, on the Waldbühne, V2A will transport fans “into a world of fire and blood”. Let’s start at the Parkbühne with TÜSN. Singer and songwriter Stefan “Snöt” Fehling, drummer Tomas Golabski, and bassist Daniel Kokavecz released their first single ‘Schwarzmarkt’ in 2014. Just a year later, they supported THE AIRBORNE TOXIC EVENT and MARILYN MANSON on stage. They followed with festival appearances at Rock am Ring and Rock im Park amongst others and a support tour with the British band HURTS. Their second album ‘Trendelburg’ was released in 2019. Last year they released their third album ‘Am Ende bleibt dir nichts’.

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It takes a bit longer to get “Arnie im Zelt” (engineer Arnie in the technic tent) sorted out, so the trio starts about five minutes late after a successful soundcheck. Singer Stefan takes the stage seemingly clad only in a kimono and a baseball cap worn backwards. I’m a bit concerned about what might be revealed when the kimono opens, but it remains family-friendly. Occasionally, black boxer shorts peek out from under the kimono as the sun slowly sets behind the trees. The stage is bathed in a soft evening light, and mist gently rolls across the stage from time to time. Gentle Pop music with German lyrics fills the air.

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While the audience in front of the Parkbühne sways gently and dreamily to the music, a completely different scene awaits us on the Waldbühne. Flags are waved, arms and legs are thrown into the air and the crowd celebrates ecstatically. “V2A are walking the sandy roads of the Wastelands...” The post-apocalyptic Industrial band was founded in January 2001 by DRONE (Kevin Steward) and MECHANIZED (Ines Lehmann). The German-British project, named after a type of stainless steel, had its first live performance in the Zeche Carl in Essen in the spring of 2002. Shortly after, V2A appeared at the WGT in Leipzig. In the autumn of 2002, they released their first work simply titled ‘EBM’. The uncompromisingly hard EBM, Industrial sound mixed with Techno and an energetic live show with a post-apocalyptic design inspired by the Mad Max movies, really get the fans fired up in front of the Waldbühne.

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We decide to visit Christian von Aster’s reading in the meantime. Describing himself as a literary hedonist, he is also known as a genre boundary saboteur, literary candy uncle, or satirical Gesamtkunstwerk. Over the course of his career, Christian von Aster has authored more than two dozen books, contributed to numerous anthologies, produced audiobooks, written screenplays, made films, and performed several hundred readings for audiences ranging from one to two thousand listeners. His work is characterized by a pronounced love of language and subtle humour, which seeps into even his strangest fairy tales, quirkiest columns, and most obscure novels, regularly delighting fans of refined expression and daring thoughts. Today, with ‘Gruftkonfekt’, he presents a reading of disturbingly delightful darkness. Mr. von Aster offers tales of grim gruffness, ruthless love letter pigeons’ confessions and other texts of dubious yet witty humour. All presented with dedication and fundamentally not recommended for imitation.

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The seats in front of the Lesebühne are accordingly well occupied. Not all interested guests have found a place. We too are standing, both intrigued and amused, attentively listening behind the benches. Last year, I had noticed that the music from the two large stages was relatively loud compared to the reading stage. This year, it seems that the sound is even more directly carried from the Waldbühne here. The stage has been slightly turned to make the view from the surrounding wall more difficult. The organizers were concerned that non-paying spectators might gather there and possibly leave their cigarette butts behind. Considering the heat and dryness of the past days and weeks, this would have been a high risk for all visitors. A fire caused by a carelessly discarded cigarette could have had catastrophic consequences for all festival participants. Thus, the measure primarily served to ensure the safety of the visitors while avoiding non-paying onlookers. However, the noise from the Waldbühne somewhat diminishes the enjoyment of the reading. For the sake of safety, this is of course acceptable. It is still not entirely easy to follow the readings attentively. At least the volume at the microphone of the reading artists could have been increased a bit.

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I remember Mr. von Aster’s readings as very entertaining. After the backstory of the ‘Black Butter Trip’, the following still completely unknown story promises to be an amusing listening pleasure. After some advertising for a troll bookmark, which is simply a paving stone, and a further ode, we hear a text written for the magazine ‘Drunter und Drüber’. This magazine is dedicated to funeral culture, dealing with topics related to death. “The text has actually not been heard by anyone yet, which could mean that it is full of errors” - a “Generalprobe” (dress rehearsal). I will remain silent about the content of the text - no spoilers here. Just enough to say that such a story also makes the author of this lines reflect a bit on home, old friends, and some letters that (still) haven’t been written. The subsequent story about Lukas, the moody love letter pigeon, pulls me out of my thoughts and brings a smile back to my face. There are now eleven texts about Lukas, and perhaps someday a book. With Lukas, the cultural program at the Lesebühne comes to an end.

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On the Kulturbühne, AH CAMA-SOTZ takes over with hard beats. The Industrial-Techno and Dark Ambient project of Belgian electronic music producer and DJ Herman Klapholz has evolved since its founding in 1993 from cold, minimalist electronic sounds through dark ambient soundscapes to pounding techno tracks. Meanwhile, we head over to the Amphibühne, where ESCAPE WITH ROMEO takes the stage. I first encountered ESCAPE WITH ROMEO on the ‘German Mystic Sound Sampler II’ back in 1991. The band was featured with ‘Somebody’, their first single, which originally appeared on their debut album ‘Escape With Romeo’ in 1989. Atari computer, drum machines, a 4-track recorder, turntable, guitar, bass and a lot of musical ideas. After guitarist and vocalist Thomas Elbern left PINK TURNS BLUE, he founded ESCAPE WITH ROMEO in 1988 to bring his own ideas to life. Since their second album ‘Autumn On Venus’ long-time keyboardist Martin Pott has been part of the line-up. In 2017 the band announced their farewell on their homepage with one last tour in 2018.

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After two festival appearances in the summer of 2019, ESCAPE WITH ROMEO disbanded after more than 30 years. However, the crises of the world brought Elbern and ESCAPE WITH ROMEO back. In October 2022 ‘Based On A True Story’ was released. This double-CD compilation featured old songs from ESCAPE WITH ROMEO and Thomas Elbern, some newly reinterpreted. Along with this release, a return to the stage was announced for 2023 with a new line-up. 2024 has been a busy year for ESCAPE WITH ROMEO. The band is working on a new album. ‘Suspicious Bliss’ is set to release at the end of the year. Besides many old songs from the post-punk legends, fans are getting a small preview of the new material live tonight. As ESCAPE WITH ROMEO takes the stage, darkness begins to fall. Gone are the nearly empty seats and the hunt for shade. The area in front of the stage is packed, and people are dancing all over the stands. Elbern’s hat sparkles and glitters in the spotlight.

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The audience is aging alongside its stars, but here and there, you can spot some younger faces in the crowd. Others have brought their children along. The scene isn’t quite dead yet. Small festivals like NCN give new and young acts a chance, offering an opportunity to introduce this music, this lifestyle, to a younger audience. It would be nice if the big festivals took more risks and gave lesser-known young acts a stage. But even "veterans" like ESCAPE WITH ROMEO manage to captivate the youth and reinvent themselves here and there. I still have hope and am not ready to give up on our scene just yet. // Setlist: 01. Intro / 02. Helicopters in the Falling Rain / 03. It’s Loneliness / 04. Where Are You Now / 05. Refuge / 06. black jaguar in a police car / 07. Here Comes the Night / 08. Darknesstaker / 09. Anteroon for Your Love / 10. When the Hammer comes Down (PINK TURNS BLUE) / 11. Schnitterlied / 12. Somebody / 13. Tears of Kali / Encore: Escape With Romeo

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Even the editorial team needs to tend to human needs now and then. So, we grab a quick snack and settle on one of the benches under the trees. Although we don’t have a direct view of the stage from here, we can still listen to the concert. Feeling content from the music, satisfied, and a bit refreshed, we head towards the Parkbühne. While WELLE:ERDBALL is sending “a slightly different radio program” into the ether on the Waldbühne, I’m excited to see ABU NEIN, who are taking over the Parkbühne at the same time. I haven’t had the chance to see the Swedish Darkwave band live yet. However, there is a touch of sadness in the air from the start. The thought that Andreas Catjar-Danielsson should have been on stage with the enigmatic Dark Wave trio from Malmö is somehow hard to shake. The musician, known to most as a long-time member of COVENANT, passed away on 29th July after battling cancer.

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Today, ‘III - Dark Faith’, the third album by the Swedish band, was released - an album that Andreas had a significant role in. In a way, the musician is still with us today as ABU NEIN takes the stage shortly after nine. With their fantastic mix of Synthpop, Dark Wave, Electro, and Post-Punk, ABU NEIN immediately captivates the audience. The charisma and voice of front woman Erica Lilundqvist instantly draw you in. Some people dance with their eyes closed, fully immersed in the music. The band starts with tracks from their debut album, ‘Secular Psalms’, which was released in November 2020. The front woman impresses not only with her powerful voice but also occasionally picks up the guitar. Erica doesn’t need many words to connect with the audience. Not until after ‘Love In Vain’ does she speak to the crowd: “How are you? So, that was our first record. Now we move on to our second one.” They follow with several songs from their second album, ‘II’, including ‘I Am Emptiness’ in a remix by Tobias Bernstrup. During the brief pauses between the songs, I notice that the sound from the Waldbühne occasionally reaches my ears, which I find somewhat distracting. I hope the organizers find a different solution for next year and restore the original direction of the Waldbühne.

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After ‘Going Down’, a small technical problem arises. Instead of the bass, there’s just a buzzing sound coming from the speakers. “The bass is dead. We can’t do it without the bass.” But then it’s back. “The bass is back. Okay, thank you for your patience. So, today is a great day. Not only because this is a great festival, but also because we released our third album today.” Regarding the album, the band wrote on Bandcamp: “We are equally haunted and healed from the reverberations of our latest creation, ‘Dark Faith’. This album emerged from a place of profound sadness. What will unfold is as familiar as it is foreboding, confronting us with the complexities of existence. The musical layers of this album, delicately produced by our late friend and confidant Andreas Catjar-Danielsson, resonate with the weight of unspoken truths. His mastery in this last production of his will linger in our thoughts and forever echo in our hearts.”

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So, it’s also a sad day for ABU NEIN. “Because we were supposed to be four on stage. But our friend Andreas died a while ago. He is very much a part of this new record. We’re going to play some songs from it. And he is with us on stage. So, this is for Andreas.” With ‘Unwanted’, the first song from the new album follows. You can tell that it’s a very emotional moment for the musicians. Playing the new songs without Andreas seems to be deeply affecting them. They continue with the first single ‘City of Dust’. The band frequently donates proceeds from their releases to social projects close to their hearts. This time, they aimed to stand in solidarity with children affected by war, particularly by supporting initiatives that provide essential aid to the children of Gaza. For their final song, the band chooses the last track from the new album. “But brace yourselves because it’s 12 minutes long.” On the one hand, it’s bold to close the concert with such a long and rather slow song. Some spectators leave the Parkbühne and head to the Amphibühne, where KLANGSTABIL will soon close out the evening.

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On the other hand, it somehow has to be this song. Andreas was especially proud of ‘Wir Leben’. The band writes on Bandcamp: “We believe this song deserves a universe of its own. After completing it, Andreas wittingly envisioned a new genre - Glowwave - because, as he beautifully expressed, ‘it’s drawn from my innermost glow’.” The trio couldn’t have chosen a better song to take Andreas on stage with them tonight and pay him their final respects. Those who stay are rewarded with a wonderful piece of music. After about eight minutes, singer Erica says her goodbyes from the stage (“thank you, we love you”) and watches her bandmates from the photo pit until they too leave the stage. A deeply moving performance that will linger in memory for a long time. The audience’s calls for an encore go unheard, and so I make my way to the Amphibühne. // Setlist: 01. Geist / 02. I Will Rise / 03. Rotten Garden / 04. Dying into a Dance / 05. Love In Vain / 06. Kissing The Glove / 07. Moth In Pieces / 08. I Am Emptiness (Tobias Bernstrup Remix) / 09. Black Thistle / 10. Lock On Target / 11. Going Down / 12. Unwanted / 13. City of Dust / 14. Wir Leben

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While KLANGSTABIL takes the stage at the Amphibühne for their first performance in six years, OSTARA closes out the night over on the Kulturbühne. But that’s not an option for us tonight. We simply can’t miss the headliner at the Amphibühne. In the last review of a KLANGSTABIL concert back in 2014 at Reflections of Darkness is written: “KLANGSTABIL, consisting of Maurizio Blanco and Boris May, was formed in 1994. While Boris had no prior experience in the music business, Maurizio had already spent much of his life working in music. Soon after they met, the duo began creating material, initially with no plans to release it. But release it they did, and we’re thankful for that. Over the years, KLANGSTABIL has carved out its own niche in alternative electronic music, blending its early influences with a contemporary and sometimes experimental touch. In October 2008, the duo released their conceptual work ‘Math & Emotion’, followed by the ‘Vertraut’ EP. Their most recent album is ‘Shadowboy’, released in November 2013, which came as a box set including a book by Christian von Aster.”

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Not much has happened since then - no album for over 10 years, no concerts for over 6 years. Why? Because they had nothing to say. That seems to have changed. KLANGSTABIL is back. Maurizio and Boris are on stage again and they’ve got new tracks in tow. Although they’re already confirmed for the Amphi Festival 2025, tonight is their first performance after this long break, here at NCN. And along with new songs, they’ve brought brand new band merch, which sold out before the show even started. At 10:30 the moment is here. The area of the Amphibühne is packed and it feels like many festival-goers have come just for KLANGSTABIL. At least for some, it’s the main reason they’re here on this Friday night. “This is an incredible sight. I’ve got goosebumps” says festival organizer Holger Troisch, who personally takes the stage to introduce the band. After a year and five months of build-up, it’s finally time, and more than 2,000 people welcome KLANGSTABIL onto the stage. The screen reads “TO BE HONEST” and ‘To Be Honest’ is also the first song Boris and Maurizio present to the crowd.

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Right off the bat, we’re starting with a brand-new track from the duo. While Maurizio works the gear in the background, Boris dashes across the stage. Every now and then, he takes a swig from his water bottle, pours the rest over his head to cool off and then tosses the bottle across the stage. Soon after, his shoes fly off too, and Boris performs barefoot. The audience is going wild, hands in the air, singing along to ‘Pay With Friendship’. The cheers are so loud, they sometimes drown out the music. I have to admit, I’m not a huge fan myself and only know a few of their tracks, but the energy coming from the stage is undeniable - it pulls everyone in. For the next song, Boris and Maurizio swap places. The crowd is dancing freely, enjoying every moment. When ‘Math & Emotion’ kicks in, the crowd erupts with applause at the first notes. Even I know this one and sing along. Around me, I see nothing but happy faces. By now, it’s clear this is the highlight of the day for many, maybe even the entire weekend. Hundreds of arms reach for the sky, as if they’re absorbing the energy. Boris seems to take ‘Push Yourself’ literally - he’s giving it everything he’s got.

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“I think we all know people, friends, who would normally be here with us today. Just like these two” Boris says. On the screen, photos of Ola and Günther appear, two beloved figures in the scene who passed away last year. Boris shares a story about talking to Günther last year, who had asked for VIP tickets, which Boris couldn’t get him. He struggles to hold back his emotions, especially when speaking about Ola, who had ALS and could only communicate through her eyes towards the end. His emotions break through, and Boris openly weeps. I didn’t know Ola or Günther, but I know what ALS does to a person. I know how helpless you feel as a friend or family member watching someone weaken while remaining fully aware. How you can only stand by, powerless, as someone you love fades away. Some in the crowd shout, “stop talking, play!" or “get on with it”. I can only hope those comments were fuelled by alcohol, because I don’t want to imagine that someone can have so little empathy in such a moment. Meanwhile, many of us, myself included, are in tears. Boris reminds us that those who aren’t here are still with us, they’re dancing with us, connected through the music. And that’s what the next song is about. Boris asks for our help, saying he can’t sing it alone. The lyrics appear on the screen, and hundreds of voices join in to sing ‘Über Leichen gehen’ and hundreds of people dance together.

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Boris and Maurizio swap places once more. With ‘Gloomy Day’, the crowd gets a moment to catch its breath. They follow it with a few older tracks before treating us to another new song, ‘For Those Who Need Always Someone Else to Blame’. Boris jokes about rehearsing the song in his Norwegian cabin until his cat told him to stop. The lyrics appear on the screen again to help everyone follow along. And for anyone wondering why ‘Math & Emotion’ is being played again in its remix version, Boris gives a simple answer: “Both versions are just awesome.” The crowd’s reaction says they agree. Before wrapping up, Boris asks the crowd to swear with their hands on their hearts: “If KLANGSTABIL plays at NCN again in ten years, I swear I’ll be here.” With that, Boris and Maurizio leave the stage. The cheers for an encore are so loud, they can’t help but return again an give the crowd what they wished, an encore. // Setlist: 01. To Be Honest (live version, unreleased) / 02. Pay With Friendship (sonic area remix) / 03. Perdere per Vincere (The Italian Opening) / 04. Math & Emotion (album version) / 05. Push Yourself / 06. Über Leichen gehen (unreleased) / 07. gloomy day / 08. Twisted Words / 09. Lauf, lauf! / 10. End of Us / 11. Schattentanz / 12. For Those Who Need Always Someone Else to Blame (unreleased) / 13. Math & Emotion (remix) / 14. You May Start / 15. Vertraut

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But the festival Friday isn’t over yet. MATTE BLVCK is getting ready for the midnight special on the Parkbühne. The band from San Diego, California blends dark Synth Wave sounds with raw Industrial tones. When Alex Gonzales, Bidi Cobra, and Daniel Corrales step onto the stage ten minutes past midnight, not many people have gathered yet. The stage is first thoroughly filled with fog, making it hard to see the artists. But you can certainly hear them. It’s getting loud. The trio’s love for Underground Techno is unmistakable. Slowly, more and more people fill the area in front of the Parkbühne. Synthesizers, percussion, guitar, and bass, the trio takes turns playing everything, sometimes simultaneously. Vocally, the band also has something to offer. People dance into the morning in front of the stage, while we say our goodbyes for the night. The photographers still have some work ahead of them before we all can go to bed. So, we leave the midnight special and the after-show party with DJ ADLER and DJ FLO to the remaining festival-goers. We’ll see you tomorrow, right on time for entry at 11 in the morning.

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All Pictures by Daniela Vorndran (http://www.vorndranphotography.com / http://www.facebook.com/blackcatnet)

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