APOKALYPTIKFOLK SILVESTER 2008 REPORT @ FILTH FORGE (I) by Il Levriero Staff
24/02/2009 at 17:19
A great report of Apokalyptikfolk Silvester 2008 @ FILTH FORGE (I) by Simon V.
"It was the third time for the "Apocalyptic Folk New Year’s Eve", an event not to be missed, taking place at the historical Hellraiser Club in Leipzig, one of the first opened in the former DDR, right after the fall of the communist block. The previous editions saw two of the best Italian bands around (Camerata Mediolanense and Spiritual Front) as headliners, winning the enthusiasm of the audience. This year the bill featured two more names from Italy, whose fame and skill had it logical to wait for a triumph, a truly unforgettable night. Expectations, indeed, weren’t disappointed at all...
The opening of the evening was entrusted to APOPTOSE, one of the most appreciated acts from Tesco Organisation, weaver of a multi-faced dark ambient and well-known of the interesting concept album "Blutopfer", centred upon the festivities in Calanda and its famous processions of beating martial drums. The German duo, sober and glacial like their music, after a slow and atmospheric introduction, created with extracts from the debut CD "Nordland" and the recent "Schattenmädchen", was joined on stage by eight percussionists of the Fanfare Leipzig, ready to unleash the martial and ritual rhythms listened to on "Blutopfer". There we went on with "Apotropaion", "Prozession der Augen", the grandeur of "Zu Fußen der Mutter", "Calanda"... a true catharsis, in which the beating of the drums perfectly melted with Apoptose’s cosmic keyboards. In between, the two members of the band tried also a bizarre experiment, sticking the microphones inside two long rubber tube and rotating them in the air. The sound so created was similar to a vortex of high intensity.
The concert closed with the awaited cover of Joy Of Life’s "Warrior Creed", which rhythms were perfectly played by the Fanfare Leipzig. Gary Carey himself was supposed to perform the vocals that night, but, unfortunately, he didn’t manage to be there. Anyway, Apoptose were outstanding, able to play ambient music live without sounding boring and, above all, without giving the impression of "pretending to", using just samples and pre-recorded bases. This was also their last concert together with the Fanfare; we will see what they will be preparing for us in their future on stage appearances.
After the Germans’ set, it came the most awaited moment by a large part of the audience: the debut on German soil of IANVA, as well as their third official concert. While "Intro - Colpo Di Maglio" was sounding from the loudspeakers, tension could be felt in the air, and when finally the legion from Genova appeared on the scene, taking place at the instruments, last of them being of course Mercy, a deflagration of enthusiasm welcomed the eight musicians on stage. Wasting not a single second, the band stormed into attack with "La Ballata Dell’Ardito", first song on the set list and only one for which the sound wasn’t perfectly balanced. Time for the sound engineer to quickly adjust the volume, that we started again from the magnificent "Vittoria Mutilata" and the battle hymn "Di Nuovo In Armi", both masterfully played and saluted by the audience in a jubilation of claps. It was then time for one of the topic moments of the concert, the entrance of Stefania D’Alterio, who, with marble stage presence and overwhelming charisma, gave us a flaming version of "Tango Della Menade". Not even an instant to breath, that Mercy appeared back on stage to engage in a duet with the "archeofuturist muse" on the wonderful "Un Sogno d’Elettra".
IANVA’s sonic and visual live impact is nothing but sensational: not only you get the rare opportunity to enjoy a concert with so many instruments played live, without pre-recorded bases or samples, but the mastery of each musician and the total absence of frills or useless posing leaves you utterly wordless. A special mention goes to the thundering beats of drummer Francesco La Rosa, able to deliver machine gun-like rhythms, and the epic trumpet of new entry Michele Bernabei, particularly appreciated in the solo parts of "Per Non Dormire". The coupling Mercy/Stefania on vocals is then extremely effective: his sometimes suffering, sometimes epic interpretation, with a little bit of shyness, is marvellously balanced by her femme fatale, wild diva-like one. Their duets on the aforementioned "Un Sogno d’Elettra" and on "Fuoco A Fiume" generated sparkles!
After "Muri d’Assenzio", it was time to present those songs that the band didn’t yet have a chance to play live: it came then "L’Occidente", grand and thrashing, with its razor-sharp lyrics, and, as seal for such striking performance, the unreleased "Dov’Eri Tu Quel Giorno?", to be featured on the second, much-awaited full-length: judging from this spicy taste, we can already expect at least another masterpiece! The new composition is fast, martial, wide-awake, and it drove the audience crazy, sending them into a total state of delirium. The only encore featured Stefania back on stage to play a wonderful version of "O’ Surdato ’Nnammurato", making us further understand IANVA’s true value: it’s not that common to see a large audience of Germans dance and enjoy a traditional popular song from Napoli! But, the spell worked perfectly once again, showing that, when one has class, no language or cultural barriers seem to exist.
It might have then looked a bit unfair for ATARAXIA to close the festival, especially after such an outstanding concert by IANVA. But, Francesca Nicoli’s band surely doesn’t let itself be easily cowed, so not much time passed before the four minstrels from Modena appeared on stage to perform the first of the two sets on the bill, centred upon the upcoming new album. Magical songs, with a strong Celtic folk influence enchanted the audience for the first 45 minutes, until the closing with "The Nine Rituals", epic leading tune of the recent "Kremasta Nera".
Taken off the solemn Druidic dress she was wearing a moment before, Francesca returned on the scene together with the rest of the band dressed like a French bohémien from the beginning of last century, anticipated by the histrionic figure of Livio Bedeschi, the clown. The reverberated voice coming out of the loudspeakers announced the multicoloured show "Paris Spleen", which was about to fill the second part of Ataraxia’s performance. The whole stage was now decorated with Christmas lights, especially Riccardo Spaggiari’s percussions and the strange armchair on which Livio was about to perform his pantomimes. The album’s grotesque, disturbing atmosphere was perfectly conjured song after song, and enriched by surreal moments, like the "invasion" by some couples from the audience, who came on stage and started to dance among the musicians, or the final slaughter, with the band hidden behind animal masks and eventually "executed" by Francesca’s pistol.
And with the last scene of Ataraxia’s crazy show came also the end of the third Apokalyptik Folk Silvester. It was a great event of authentic music, once again with special spot on Italy and its extraordinary artists, who, as it seems strangely natural by now, are gaining much more success in Germany than in their own homeland. A perfect way to start 2009, obviously waiting to know who will get on stage for the fourth edition!"
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