20. WAVE GOTIK TREFFEN
Saturday 11th June
Saturday is usually the busiest day at the WGT, as the peak of visitors is reached and many of the most interesting concerts are scheduled. This year, however, the extreme overlapping with bands and the distance between the different venues forced us to attend just very few gigs, and to undergo painful choices. No way could we set our bodies to dance to the EBM of Feindflug and Front 242, as they were going on stage at the same hour as the Schlagstrom industrial night with Militia at the other side of the city, and the same happened with Camerata Sforzesca and the neofolk night at the Felsenkeller. The only choice was to pick a bit of everything, choosing possibly the rarest names, those that were unlikely to be caught live very soon again in the future.
The first concert we attended was at the luxurious Central Theater (formerly known as Schauspielhaus), and it was ROSA RUBEA, the personal project of Camerata Mediolanense's female singer Daniela Bedeski, fresh of the release of the debut CD "The Fire And The Rose" on Old Europa Cafe. It was a delicate and exquisite moment, as the beautiful music created with cello, drums, piano and keyboards conjured a magical and suspended atmosphere inside the beautiful theatre, and Daniela's voice floated above it, showing a different side of her talent, more intimate and dreamy. One or two particular songs brought memories of Kate Bush. A beautiful debut that was warmly welcome by the international audience of the WGT.
Reaching for the street in haste, we were able to catch the right tram and reach the Felsenkeller right in time for the beginning of the concert of MOON FAR AWAY. The Russian band from Arkhangelsk is surely a rare thing to see in Europe, and this first WGT appearance offered an opportunity not to be missed to experience them on stage. With their fascinating druidic robes and masks and the solemn ritual overture, four mysterious figures appeared on the scene and started to enchant us with their arcane and mesmerizing music. Although scheduled among neofolk bands, their sound has little to do with usual stereotypes of the genre, as the sacral chants in Russian language and the statuary stage presence of the band reminds more of some ancient religious music, coming from a forgotten pagan age. The sound inside the Felsenkeller was, unfortunately, awful, just on the front it was possible to listen to a bit better. Anyway, songs such as "Олюшка" and the patriotic finale with "Мама Русь" offered precious emotions. The eerie druids disappeared as fast as they had manifested themselves, and it was then time to head for Der Anker for a bombastic industrial conclusion!
Inside the elegant neoclassical building, Hybryds were reaching the end of their show, and, soon, the impressive equipment of MILITIA was being assembled on stage. Fuel barrels, chains, gongs, pipes, sheet metals, rims, and assorted junk were assembled in a fascinating structure, ready to be bashed by the six members of the Belgian collective. Finally a true old-school industrial show, with metal percussions played live and no techno beats or laptop involved! Frank Gorrisen made his entrance and was unintentionally the protagonist of a funny sketch: as there seemed to be no way the technicians could make the DVD player work, he produced himself in fantastic jokes that entertained the audience a lot, even if, in his own words, "he wasn't paid as a stand comedian". Finally, visibly enervated, he decided to play without the video. The others jumped on stage, the pre-recorded sound base started, and it was finally time for one of the most impressive shows of the whole WGT.
Starting with the proud proclaim of "Mikael Bakunin", from "The Black Flag Hoisted", Militia assaulted the audience with a hurricane of primitive tribal rhythms, bashing their assorted instruments, swapping between them, backed by the soundscape and occasional voice samples on the base. Sparks flew everywhere as two members came to the front and attacked two old rusty metal bars with their electric saws. Sometimes the percussive effort sounded a bit dispersive, but, more often, the group concentrated in very well-constructed rhythmic structures, especially with the extracts from their latest CD, "Power, Propaganda, Production!". At the very end of the show, Frank invited the audience to join them on stage and play the percussions for the final song. A large group of people (including the undersigned) entered the arena, large sticks were distributed to everyone, and the crazy, rhythmic orgy started. It was a load of fun and a fantastic atmosphere was conjured inside Der Anker. Militia offered a great show, but also won the prize for the nicest and most friendly band of the whole WGT and beyond.
- Simon V.
