Mechanical for sure but I have no idea who signs under the first part of the party name; maybe Tairy Ceron with his "flesh tunnel piercing" and swastika on his back? But let's get back to the beginning.

Apostazja Festival was introduced by gentlemen from SONDA project. In fact they have not presented anything new since the last time I had seen them during the MASCHINENgeSCHREI festival in May this year. Stylistically calm and without stepping out of the line they drew for their so-called global electronic music. The sound oscillated on the all frequency waves available for human ear; high tones interweaved with low, pulsating bas; a cosmic buzz. This time it was ascetic, with no visualization and minimal usage of light. It seemed as RadAr and Jar O didn't prepare anything special for the occasion. The proof of the average performance was the low number of listeners under the stage.

When KRĘPULEC entered the audience definitely livened up. Uniformed, wearing belt with pentagram-shaped clasp and new eccentric hairstyle came Infamis by timpani; next to him Tomek L. playing bass drum and Marcin Jarmulski [haven] playing keabord. KRĘPULEC presented material especially prepared for this occasion: "Europa" (inspired by Lars von Trier's movie "Europe" which samples were used during the concert), worked out by Wojtek Z. with lyrics by Łukasz Radecki (Arcybia/Arkham). It was the quintessence of Infamis' military style - harsh, rate-of-march rhythm, both military and industrial-dark-ambient backgrounds, uniforms, rapid "stage movement" of both kettledrummers. The opening song came from repertoire of Polish Armed Forces Official Band "Piechota". By making "Europa' project Infamis shows us how far one can go with mixing military industrial with folk. In the second song "Unia" we can hear accordion (played from keyboard) and acoustic guitar accompanied by Przemek Cackowski – vocalist from Grudziąc known from sang poetry. It was him who later sat down by the microphone and, quoting Łukasz Radecki's revolutionary-liberation texts, changed Krępulec's concert into lofty rally calling to fight for free Europe. Apart from the new material presented on the show we were introduced with the latest release from "New Radical" – "Socjalizm". Despite the high standards of the performance and noticeable involvement in" Europa" project Infamis did not forget about the essential interaction with the public. Krępulec's concert turned out to be the only one this evening that was called for bis. Unfortunately, as the time was limited, we didn't hear it. It's a pity because Infamis and co. used the time well not letting boredom set in on the stage and among the public. They could play it longer for sure and no one would hold it against them.

The time has come for a second project – BRASIL & AND GALLOWBROTHERS BAND. A lot of inspiration by classical ambient (I have heard somewhere in the background characteristic babbling of Selected Ambient Works II AFX) combined with psycho-jazz. Additionally there were low, dark and drawled from the lower records; two guitars, sticking out from behind the table full of equipment, and repetitive trumpet. Multi – dissonance solos, a lot of sustain and bending of strings. Trumpet falling into minor second with low background made an impression of going into pieces. From time to time we could also hear re-sampled Indian drum. Vocal part of the performance boiled down to lazy poems-quoting and, less often, to whispering. Such nostalgic and melancholic climate hypnotized some and bored another.

Classical guitar at midnight might have seem a bit odd idea but not in case of such artists as Lloyd James and Joanne Owen. This time the compositions of NAEVUS were deprived of so-called electronic details and gentlemen focused on transferring the truest emotions only by an acoustic and bass guitar. At the beginning the mood was melancholic with catchy and easy melodies. Later the calm recitation and subdued singing switched into noisy callings, more and more vehement and pugnacious, showing large scale of voice and skills of Lloyd James. And something spicy at the end – Pink Floyd "Green is the color" cover as I assume. It turned out to be enough to liven up the audience.

Right before this evening's star performance something weird happened – the public stood up and hurried under the stage with their chairs. Were they that bored and prepared for dullness? Or maybe it was the spontaneous reaction to turn the music concert into theatrical spectacle. AIT!. Tairy Ceron is showman in the psychedelic performance. "Pause" sign disappeared from the backstage screen and visualizations began; from narcotic visions through cosmetic procedures and sham-sex of embalmed bodies there was Tairy who rubbed his crotch with crucifixes, mourning, and walking slowly between the mannequins, stroking and talking to them as he seemed to address the show right to them. Music varied from heavy dark-ambient backgrounds to something like ottoman folk. During the performance most of the people resigned and left under the stage were fanatics hypnotized by enigmatic show and charming artist. The last song - "Io Ballo da Solo" was particularly touchy because Tairy again focused his attention on woman mannequin and it seemed as they had something in common – betrayed love which found a vent in raucous mantra singing full of despair and bitterness. If I was asked to call bis I would choose this song in particular; however the eccentricity and specificity of the show it wasn't worth risking. The end of the performance was indeed specific as people under the stage clapped for bis and Tairy Ceron, first hidden behind the scenes, came out after a while and asked quietly what is this all about. In reply he heard that "you have to do something (…) something to dance" (laughter). As we can see, Tairy is a peculiar person. Before he played the bis, however, there was a little boob. Everybody heard as our star forwards background music on DVD player searching the right song. When finally bis composition started Tairy couldn't find the microphone and was made to play the music from the beginning. Well, a weak point of one-person band. No one seemed to have noticed because people had a great fun. The show was over and Tairy, applaud, gone behind.

In the final reckoning the public judged KRĘPULEC show as the best but we should honor Naevus and Ait!. Festival, as it was said, varied a lot in case of style from electronic "twists" through military rhythm, acoustic guitars and toned poetic vocal to psychodrama songs of love, death and pain in Italian.