Ok, it’s official – Germany does festival settings like nowhere else.
Sure Benicassim has a beach and a mountain, Sonar has the Catalan culture
of Barcelona and Exit has a fortified castle but do any of them have planes? No. Spoilers
Didn’t think so.
Anyway, enough of the postcard stuff.Spoilers
The first act to catch our attention are Blood Red Shoes, who are tight, taut and lively with Mary as foxy as ever and Jim’s rapier drumming and androgynous call and response
vocal generating an early momentum that a colossally disappointing MIT and the atrocious calypso electro of Le Corps Mince de Françoise (a garage amalgamation of Eurotrash
pop, cringing rapping and nervous banshee yelps, it’s a performance perilously close to being the weekend’s low point) spectacularly
manage to dismantle. Spoilers
Elsewhere a grown up Adam Green has dressed for a square dance but still looks and sounds like Ray Romano; LCD Soundsystem Spoilers
put in a requisitely flawless performance with a typically unshaven James Murphy still managing to rock the dirty white shirt look effortlessly,
and Editors offer a headline gloss on the mainstage courtesy of a set brimming with their mordant, anthemic sing-a-longs. Spoilers
Deep in an airport hangar, the black suspense is building. Stage lamps flicker, the ghost house dramatics are ramped up and you Spoilers
get that sick feeling just before the slasher film eye-candy gets her comeuppance. Spoilers
Then, shrouded in ghost shadows and mist, a Fever Ray emerges from the murk, gangling and swaying, an apparition with a faceless message
and a siren song, triangle-walking through
sleepless nightmares. It’s simply hypnotic as Karin Andersson’s mystique teases the other side to shape-shifting and soothsaying proportions,
gliding at an otherworldly pace. Spoilers
Outside, though, it’s all going a bit wrong.
In the aftermath of the much publicised, tragically doomed Love Parade, over zealous security and organisers hit the panic button
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