The jubilee tours of the legendary bands constitute rather standard, even customary a trick in the music industry. Undeniably, such ventures evoke a sort of nostalgy and cherish a majority of fans yearning to see their favorite group, refer to the times of its prime, confront its earlier form with the current one or simply bring back an element of their musical past to the present. Withing their tour celebrating the 25th anniversary of the band's foundation, The Swiss from The Young Gods - whom we can by all means describe as a legend - visited Poland with a view to giving three shows in order to remind the Polish enthusiasts of their compositions about their high class of sound. On 27th February at Kwadrat in Krakow, the band gave a truly perceptible testimony of their ineffable skills of performance, leaving me divested to the core of any earlier bias.

I do not know what to expect; I am standing, leaning against the railings-fence, figuratively separating the sensual world of sound from the prosaic reality, marking a sort of phisically-unpassable border between the sacrum and profanum; a certain amount of people is dispersed around me, silhoutted against the walls - I cannot discern their sexes or faces - I treat this ordinary ensemble as an anonimous whole, being here and now with one aim only - to experience a range of ineffable musical delights, undergo a soothing sound therapy; someone does not manage to suppress the laughter, the other allows his beer can to fall on the concrete ground; I am not bothered; gazing continuously at the stage, acceptably dominated by instruments, I am trying to disconnect, separate myself from the tedium and cross this phisically unpassable border, at least spiritually; but when I am purposelessly struggling with my inner side, the help in the form of the musicians from The Young Gods arrives, putting an end to my peculiar spiritual division with their indescribably dynamic introduction Sirious Business; I can feel the power of perfectly merged sounds of Blooming, through No Land's Man, captivating Supersonic to rather sublime Mister Sunshine - surrounding me from every possible side, lulling my body, awakening all my senses.

The sonic rapture seems to be interminable; exaggeratingly animating sections played by Mr. Drummer when combined with enjoyably engulfing electronic samples make the crowd shake with paroxysms of delectation, which is being escalated by subsequent tracks: Miles Away, Everythere or I'm a Drug; the music Gods disappear fromt he stage after a truly exemplay performance of Envoye; I am instantly awaken form the amok, I do not know where I am, I cannot find proper words to define my current condition; fortunately an unanimous voice of crowd resounds, determinedly and in unison calling the creators of this unusual spectacle back to the stage; The Young Gods appear once again, beginning the definite end of their show with Skinflowers, permeating the atmoshpere with the energy of C'est Quoi C'est Ca just to curb any emotions, suppress any act of agitation with the last seconds of Garoline Man; the crowd, blinded by the lights, deafened by the sounds and with a sort of perverse anxiety, is expecting another emergence of the band onstage, is longing for the final ending of this musical sign of god-like existence; the epilogue to this over-an-hour, unspeakable in its tellingly soothing manner, sound therapy is marked by Freeze and Once Again; The Gods vanish from the stage, the absolute awakening occurs, we come back to the Earth.

With their performance, The Young Gods presented the essence of their work and themselves alike - there was no such thing as unnecessary embellishments, redundant gestures, needless para-pieces - the most substantial was the music, its depth and surface; the way it influences the listeners. The present form of the band, its complete involvement and professionalism ought to set an exemple for other groups, regardless of the genre. Simply the highest class in the proper sense of the word.