Fields of the Nephilim in Warsaw
Reads: 5403 times
Artist:
Galleries:
- Castle Party 2016 - 2016-08-05 (Festivals)
- Wave Gotik Treffen 2015 - 2015-06-02 (Festivals)
- Fields Of The Nephilim + Closterkeller + Deathcamp Project - 2014-02-05 (Concerts)
- Amphi Festival 2013 - 2013-07-25 (Festivals)
- M'era Luna 2012 - 2012-08-15 (Festivals)
- The Mission + Fields of the Nephilim + Gene Loves Jezebel - 2011-10-27 (Concerts)
- Shadowplay Festival 2011 - 2011-07-28 (Festivals)
- Fields of the Nephilim + support - 2011-05-07 (Concerts)
- The Christmas Ball Festival 2010 - 2010-12-31 (Festivals)
- Fields of the Nephilim + Hetane + Deathcamp Project - 2010-01-27 (Concerts)
- Fields of the Nephilim + 1984 + Polpo Motel - 2010-01-27 (Concerts)
- M'era Luna 2008 - 2008-08-09 (Festivals)
- Wave Gotik Treffen 2008 - 2008-05-13 (Festivals)
Last topics on forum:
- Sprzedam bilet na Fields of The Nephilim w Krakowie - 2014-01-31
- Konkurs: Fields of the Nephilim - 2014-01-28
On the first February of year 2014, supersaturated with the cold air Warsaw, under the quickly falling dusk could be a perfect symbol of the reasons, why at least some of the multitude of fans of emotional music in its more grim variation with excitement, light steps, despite the snowy and icy sidewalks, were moving in the direction where it was supposed to be the today’s Elizium for them. It is, of course, about the Progresja club, where that day was scheduled the second and last concert during the tour of gothic rock legends in Poland, Fields of the Nephilim.
On the main stage recently transferred to a new Progresja’s site an exceptional event took place - on the occasion of the twenty-fifth anniversary of the issue of the breakthrough, the second "The Nephilim" album, the classic position of the genre, was planned its special celebration. What's more, Tony Pettit took part in it, the bassist from the original lineup, who after years returned to the group. So it was not a surprise that there was a special atmosphere of excitement and anticipation accompanying audience gathered in front of the entrance to the main hall. With every second the crowd thickened, and passing time was a good opportunity, to learn about the perks of the open bar.
When finally the audience was allowed to go near the stage, atmosphere was cooled down with coldness penetrating bones, one of the few organizational mishaps of the evening, which, fortunately, cannot be associated with the event itself.
To the performance was preparing already recognized in the Polish environment the dark independent formation Deathcamp Project. Four musicians in lineup (next to the Void and Betrayal were involved for live show kr -lik at keyboards, providing electronic juiciness and supporting vocals and Tomtylor on guitar) gave show without sound trial, which did not affect the quality of the performance. Professionalism and stage experience was easily to notice by eyes/ears, being a guarantee of a successful concert. Varied in relation to the album versions tracks, quickly warmed up the audience, so that even the cold was hardly to notice. Main course was the last, "Painthings" album, released in 2011, although there were also tracks from the debut one: "Dead Hours" opening the setlist and "agenda like" "Fuckin' Deathrock". Unquestionable commitment during the performance (it was one more time, because they have already supported creators of "Dawnrazor") and quite vivid music, caused that after each song were more crowds next to the stage and most of those who earlier were wandering here and there precariously in the back of the hall, sipping their beer, moved closer to the source of the rock coming from the speakers. You also cannot forget about the perfect image of the band, combining sophisticated elegance with gothic extravagance and polished makeup.
Setlist:
01. Dead Hours
02. No Cure
03. Fuckin' Deathrock
04. Cold the Same
05. Betrayed
06. Through the Fire
07. Painthings
08. Too Late
After 8 pm among the vapors of smoke appeared Closterkeller group with Anja Orthodox as a female master of ceremony. That time she was dressed in a tasteful, long gown that drew attention to classical, mournful black. That evening it was not time for - not always successful - experiments with the image, precision was important in every field. First, mesmerizing sounds of "Nero" almost immediately focused attention of the audience.
For Warsaw’s formation it was an important show also for another reason – it was the second time when they played in a renovated lineup after the departure of three members. The greatest curiosity aroused by female blond guitarist, who day earlier passed stage’s baptism. For most of the performance she was focused on her instrument, she did not commit mistakes, though she did not allow herself to any guitar parade. More confidence seemed to have other Closterkeller’s beginners.
As always open to contact with the audience, female leader presented an excellent vocal form. More and more daring, almost risky interpretations and excellent technique achieved from not so quite promising beginnings (twenty-five years ago), along with the specific Anja’s sensitivity allow to create reliable stage creations. Same compositions were accentuated that time by keyboard themes (which could be heard, among others, in an industrialized, gloomy "Mirage"). The setlist was also unusual for the ordinary Closterkeller concert. It has no hits, emphasis was on the last three albums and monumentalism, maybe except of "Jak łzy w deszczu" composition, which performance was temporarily disrupted by one of the fans. Despite a rich emotional charge, not every choice can be considered successful. Incoherent, pretentious diptych "Między piekłem a niebem" and equally pretentious "Dwie połowy" were definitely weaker points of the concert (though not in any case, technically), but the fans seemed to be enchanted by the whole.
Setlist:
01. Nero
02. Między piekłem a niebem
03. Miraż
04. Dwie połowy
05. Jak łzy w deszczu
06. Matka
Technical break. Focused eyes are intently following each movement of people bustling on the stage. Drunk or sober, everyone seems to be drunk of expectation. Less and less space, which occupation increases hyperbolically, which only increases the excitement. The atmosphere evaporates - and, to illustrate that, smoke more and more, slightly flowing into the audience, slowly covers the scene, causing it becomes barely visible. The lights dim gradually. Buzz fades completely, the gathered ones in ecstatic anticipation are staring fascinated by every detail of the scene, when resound loud, choral sounds intros. On the left side appears McCoy and the rest of the lineup, led by a spotlights of few torches. Cowboy hat (only two members are faithful to the original, identifiable image of the group worked by the leader), characteristic glasses soon removed, to reveal a frenzied eyes, complement the familiar post-apocalyptic atmosphere. After a moment, the riffs are heard of "Chord of Souls" and the whole magic bursts at full power.
It is an amazing, visual experience, almost unreal. Clouds of smoke (also from the cigarette lit few times by Tony Pettit) wander inch by inch, covering in veil everything in their path. The spectacle of lights perfectly fits with the music. Colors glide spirally from the band by the audience, sharp, fast twinkling white lights countering outline black forms of shadows. Music makes the timber and bodies of the listeners vibrate - either absorbed by the rhythm, or lasting in a hypnotic trance.
The mystery woven by McCoy and company builds a dramatic climate compounded by the lack of any verbal and nonverbal communication with the audience; that will not appear until "Last Exit for the Lost". Deep singer's voice, uprising sounds of synthesizer, full of mysticism, grim, tragic aura - Fields of the Nephilim. You cannot compare the previous two performances of this evening with the class, the spirit, that presents McCoy. Focus during "At the Gates of Silent Memory" rock energy while "For her light" – it is a sample of complex stage personality, which makes you collapse. Album "The Nephilim" was honored with tracks such as, inter alia, "Chord of Souls", "The Watchman", "Love Under Will", and set was supplemented with compositions "Elizium" and "New Gold Dawn" from the band 's latest album, "Mourning Sun". Cult one "Psychonaut" and emotionally exhausting "At the Gates of Silent Memory" are the strongest points of the concert, however gathered fans will surely remember for a long time ravishing performance of "Last Exit for the Lost" with leader cheering up the audience. And then a brief thanks and descent from the stage.
But it could not just end like that. Induced to encore, the British played more "Moonchild" and "Mourning Sun", to fully bring out the spasms of enthusiasm from the crowd who came to Progresja. With hope for more and disbelief was accept the end of the concert marked by unmounting of the equipment.
Who wanted to, could remain in the running until the morning afterparty. Fields of the Nephilim mingled with The Sisters of Mercy, Lacrimosa with Das Ich, alternative rock with industrial, but I leave rating to individual consideration, sometimes the choice of tracks could raise the doubts.
Phantom of that evening will remain in my memory for a long time. I look forward to another show like that in the near future, another remedy for the everyday’s life ills.
Setlist:
01. Intro
02. Chord of Souls
03. For Her Light
04. At the Gates of Silent Memory
05. Love Under Will
06. The Watchman
07. New Gold Dawn
08. Psychonaut Lib. III
09. Last Exit for the Lost
10. Moonchild
11. Mourning Sun
Other articles:
On the main stage recently transferred to a new Progresja’s site an exceptional event took place - on the occasion of the twenty-fifth anniversary of the issue of the breakthrough, the second "The Nephilim" album, the classic position of the genre, was planned its special celebration. What's more, Tony Pettit took part in it, the bassist from the original lineup, who after years returned to the group. So it was not a surprise that there was a special atmosphere of excitement and anticipation accompanying audience gathered in front of the entrance to the main hall. With every second the crowd thickened, and passing time was a good opportunity, to learn about the perks of the open bar.
When finally the audience was allowed to go near the stage, atmosphere was cooled down with coldness penetrating bones, one of the few organizational mishaps of the evening, which, fortunately, cannot be associated with the event itself.
To the performance was preparing already recognized in the Polish environment the dark independent formation Deathcamp Project. Four musicians in lineup (next to the Void and Betrayal were involved for live show kr -lik at keyboards, providing electronic juiciness and supporting vocals and Tomtylor on guitar) gave show without sound trial, which did not affect the quality of the performance. Professionalism and stage experience was easily to notice by eyes/ears, being a guarantee of a successful concert. Varied in relation to the album versions tracks, quickly warmed up the audience, so that even the cold was hardly to notice. Main course was the last, "Painthings" album, released in 2011, although there were also tracks from the debut one: "Dead Hours" opening the setlist and "agenda like" "Fuckin' Deathrock". Unquestionable commitment during the performance (it was one more time, because they have already supported creators of "Dawnrazor") and quite vivid music, caused that after each song were more crowds next to the stage and most of those who earlier were wandering here and there precariously in the back of the hall, sipping their beer, moved closer to the source of the rock coming from the speakers. You also cannot forget about the perfect image of the band, combining sophisticated elegance with gothic extravagance and polished makeup.
Setlist:
01. Dead Hours
02. No Cure
03. Fuckin' Deathrock
04. Cold the Same
05. Betrayed
06. Through the Fire
07. Painthings
08. Too Late
After 8 pm among the vapors of smoke appeared Closterkeller group with Anja Orthodox as a female master of ceremony. That time she was dressed in a tasteful, long gown that drew attention to classical, mournful black. That evening it was not time for - not always successful - experiments with the image, precision was important in every field. First, mesmerizing sounds of "Nero" almost immediately focused attention of the audience.
For Warsaw’s formation it was an important show also for another reason – it was the second time when they played in a renovated lineup after the departure of three members. The greatest curiosity aroused by female blond guitarist, who day earlier passed stage’s baptism. For most of the performance she was focused on her instrument, she did not commit mistakes, though she did not allow herself to any guitar parade. More confidence seemed to have other Closterkeller’s beginners.
As always open to contact with the audience, female leader presented an excellent vocal form. More and more daring, almost risky interpretations and excellent technique achieved from not so quite promising beginnings (twenty-five years ago), along with the specific Anja’s sensitivity allow to create reliable stage creations. Same compositions were accentuated that time by keyboard themes (which could be heard, among others, in an industrialized, gloomy "Mirage"). The setlist was also unusual for the ordinary Closterkeller concert. It has no hits, emphasis was on the last three albums and monumentalism, maybe except of "Jak łzy w deszczu" composition, which performance was temporarily disrupted by one of the fans. Despite a rich emotional charge, not every choice can be considered successful. Incoherent, pretentious diptych "Między piekłem a niebem" and equally pretentious "Dwie połowy" were definitely weaker points of the concert (though not in any case, technically), but the fans seemed to be enchanted by the whole.
Setlist:
01. Nero
02. Między piekłem a niebem
03. Miraż
04. Dwie połowy
05. Jak łzy w deszczu
06. Matka
Technical break. Focused eyes are intently following each movement of people bustling on the stage. Drunk or sober, everyone seems to be drunk of expectation. Less and less space, which occupation increases hyperbolically, which only increases the excitement. The atmosphere evaporates - and, to illustrate that, smoke more and more, slightly flowing into the audience, slowly covers the scene, causing it becomes barely visible. The lights dim gradually. Buzz fades completely, the gathered ones in ecstatic anticipation are staring fascinated by every detail of the scene, when resound loud, choral sounds intros. On the left side appears McCoy and the rest of the lineup, led by a spotlights of few torches. Cowboy hat (only two members are faithful to the original, identifiable image of the group worked by the leader), characteristic glasses soon removed, to reveal a frenzied eyes, complement the familiar post-apocalyptic atmosphere. After a moment, the riffs are heard of "Chord of Souls" and the whole magic bursts at full power.
It is an amazing, visual experience, almost unreal. Clouds of smoke (also from the cigarette lit few times by Tony Pettit) wander inch by inch, covering in veil everything in their path. The spectacle of lights perfectly fits with the music. Colors glide spirally from the band by the audience, sharp, fast twinkling white lights countering outline black forms of shadows. Music makes the timber and bodies of the listeners vibrate - either absorbed by the rhythm, or lasting in a hypnotic trance.
The mystery woven by McCoy and company builds a dramatic climate compounded by the lack of any verbal and nonverbal communication with the audience; that will not appear until "Last Exit for the Lost". Deep singer's voice, uprising sounds of synthesizer, full of mysticism, grim, tragic aura - Fields of the Nephilim. You cannot compare the previous two performances of this evening with the class, the spirit, that presents McCoy. Focus during "At the Gates of Silent Memory" rock energy while "For her light" – it is a sample of complex stage personality, which makes you collapse. Album "The Nephilim" was honored with tracks such as, inter alia, "Chord of Souls", "The Watchman", "Love Under Will", and set was supplemented with compositions "Elizium" and "New Gold Dawn" from the band 's latest album, "Mourning Sun". Cult one "Psychonaut" and emotionally exhausting "At the Gates of Silent Memory" are the strongest points of the concert, however gathered fans will surely remember for a long time ravishing performance of "Last Exit for the Lost" with leader cheering up the audience. And then a brief thanks and descent from the stage.
But it could not just end like that. Induced to encore, the British played more "Moonchild" and "Mourning Sun", to fully bring out the spasms of enthusiasm from the crowd who came to Progresja. With hope for more and disbelief was accept the end of the concert marked by unmounting of the equipment.
Who wanted to, could remain in the running until the morning afterparty. Fields of the Nephilim mingled with The Sisters of Mercy, Lacrimosa with Das Ich, alternative rock with industrial, but I leave rating to individual consideration, sometimes the choice of tracks could raise the doubts.
Phantom of that evening will remain in my memory for a long time. I look forward to another show like that in the near future, another remedy for the everyday’s life ills.
Setlist:
01. Intro
02. Chord of Souls
03. For Her Light
04. At the Gates of Silent Memory
05. Love Under Will
06. The Watchman
07. New Gold Dawn
08. Psychonaut Lib. III
09. Last Exit for the Lost
10. Moonchild
11. Mourning Sun
Other articles:
- Castle Party 2016 - 2016-08-04 (Live reports)
- Fields Of The Nephilim in Cracow - 2014-02-01 (Live reports)
- M'era Luna 2012 - 2012-09-29 (Live reports)
- The Mission + Fields of the Nephilim + Gene Loves Jezebel - 2011-11-12 (Live reports)
- Shadowplay Festival 2011 - 2011-08-04 (Live reports)
- Fields of the Nephilim + support - 2011-05-18 (Live reports)
- The Christmas Ball Festival 2010 - 2011-02-02 (Live reports)
- M'era Luna 2008 - 2008-10-03 (Live reports)
