Arriving at Nocturnal Culture Night was no mean feat. The road to the fesital location, not overly well-signed, evetually turned into a path, which did not render our ride in an over-packed car any easier. All in all, our group of literally shaken-to-the-core festival-goers, with bags in both hands, headed for the camp site. First concerts were to beging rather soon in an original atmosphere of one of the stages, situated in the old amphitheater. The whole area of the festival was appealing, starting from a pagan village, through circus caravans, to the wines tasting of rose or honey, which were immensly savored by the festival attendees. The first performance forced you into visting an alley fullfilled with a wide range of smells coming from the stalls selling a whole gamut of dainties. The smells did not allow to pass by indifferently. The glances, longing for those diversified food delicacies, were at the same time urging us not to give in to temptations or gluttony but to leave that 'doomed' area to see and familiarize ourselves with the small stage and the very first delegate of music.

Patenbrigade: Wolff:

The project that creates electronic music truly pleasing to the ear, attracted quite an audiance, in all probability, not only owing to their music, but also due to their noteworthy image. The stage was made to look as if it had been a construction site; even the performers were wearing the builders' outfits. Most probably only a hoist and excavators were lacking. Although there was no gothic feel to the show, the whole was rather optimistc. The music itself, even though it was not that outstanding in terms of composition, was charming and making your body move involuntarily to the beat of the subsequent tracks

01. Stalinallee
02. Feind hört mit
03. Gefahrstoffe
04. Voyage
05. Schusswechsel
06. Das Kraftfeld
07. Abrissbude
08. Mauerradio
09. Demokratischer Sektor



Vomito Negro:

The Black Vomits flooded the whole black night with their black enthusiasts. Taking into account dark, mesmerizing visuals and a husky vocal, one could not help but stay in front od the stage, however tiresome the music may have seemed. That particular darkness on that particularily dark night beffudled every head of each and every dark individual. A horrific atmosphere is what the Goths take pleasure in. The complete glut and glut once again - Vomito Negro has something repelling. Everything was in abundance, yet something was apparently lacking.



Diorama:

The fans of Diorama may resemble the praisers of Depeche Mode in some way. Faithful to their music ideal, they will not miss out on any concert, even though each and every one of them might appear the same. More than one band dreams about such devotion, as Diorama experiences from their fans. Loud applauses, lovers wearing the band's t-shirts or holding a banner in their hands is quite a common thing at their concerts. This show was no exception.Nostalgic sounds combined with Torben's smile may have intensified the beat of hearts of many female representatives of their fan base. The truth is that an expectional voice of the vocalist and enchanting melodies deserve recognition. The performers did not have to do anything particular to interact with the crowd. It was so natural as the smiling faces of children who are eating chocolate. That warm atmosphere connecting the subject of interest with those interested about it, deprived me of the will to pick on anything regarding the show, which would otherwise have been a toilsome thing to do.

Lacrimas Profundere:

Charismatic and deep vocal of Rob Vitacca filled the whole area nearby the small stage. Grotesque impression may have been made in combination with the smell of pancakes coming from the near stall full of delicacies. However, this curiosity got lost amogst the gothic sounds. Th played the same tracks they did this year at M’era Luna, yet they turned out a way better. Undoubtedly, a small distance between the audience and the band put the icing on the cake of that musical feast. The stage, luckily not that high, made it possible for everyone to look into the shades, which were covering the vocalist’s eyes. Very energetic rock sound and the melancholy, staking out in the air, made an ideal amalgamation.

00. Intro
01. Lips
02. To bleed
03. We shouldn´t
04. Be mine
05. Dear Amy
06. Again its over
07. Her Occasion of Sin
08. My little fear
09. Should
10. The Letter
11. For Bad times
12. My Mescaline
13. Ave End
14. A Pearl
15. Amber Girl
16. I don´t care



Qntal:

Grandiloquent music does not have to drip with pathos – Qntal perfectly showed how to combine the grandeur with a bit of moderation. Even the stage, which may have once been simply a garage, could not spoil the perception of their music. It was even the opposite – due to this fact, the interaction with the audience was not hindered. The lack of railings, which otherwise would have separated the stage from the crowd, allowed the band to somehow play with their performance, truly enjoy it and made one think they were giving a show to a bunch of their good acquaintances. Very charismatic Syrah was emanating sheer sophistication and her beautiful voice was exceptionally enchanting, especially given the fact the majority of lyrics was sung in Latin. Theatrical moves emphasized the seriousness, yet the jokes of the vocalist in between particular tracks rendered the atmosphere relaxing, full of sympathy. Nothing was lacking, nothing was in excess. Each element had been perfectly chosen and balanced, which concurred to an absolutely spectacular show.

Suicide Commando:

The headliner of this year’s Nocturnal Culture Night most probably attracted all of the festival attendees. Even the terrific cold of the night did not manage to scare the fans away. The enthusiasts of the band rushed from all parts of the amphitheater in order to surround the stage, eager to see an extraordinary spectacle, as if they were the ancient Romans awaiting the fight of gladiators.
Suicide Commando plays the music, which does not convey any message or the values of high culture; it constitutes the music for the masses, provoking the will to fight with its simplicity, just like the drums exhorting warriors to action. The aim of this music is to set the aboriginal instincts free on the contemporary battlefield – that is, a dance floor. In this case, however, due to lack of the dance floor, rather a small amount of people resorted to moving their bodies to the rhythm of commonly known tracks like "Bind, Torture, Kill", "Hate Me" or "Hellriser", served as a musical dessert. The frenzy and supersonic speed of the applause, which the band was thanked with afterwards, may have proved only one thing – the concert was received with 100% joy and recognition.



Xotox:

The noise is in vogue. Thwacks and electronic rhythms full of vigor quickly penetrate the minds of the youth keen on destruction. Xotox perfectly suits this sort of approach to life. The rumbling music has something distinctive, which makes it impossible to confound this project with any other. When they are playing, one can surely say that it is Xotox playing, without even having a look at the line-up. Andreas Davis and his scenic female companion were throwing around the stage passionately, just like a fish that got caught and wants to disengage itself from the fishing net. The difference is that, on the contrary to the poor fish, their moves were full of enthusiasm and energy. Unluckily, the emotions of the audience resorted to the synchronized wagging of heads. The day light and amphitheatrical surrounding ruined the musical effect, which incontestably suits factory pipes, hammers and copper valves.

01. intro
02. industrial madness
03. ewig
04. tote bäume
05. mechanische unruhe
06. winterblut 2: eiszeit
07. schwanengesang
08. nasse wände
09. wirbeltier
10. winterblut 3: ewiges eis
11. lichtlos
12. (xo)toxic
13. i want you
14. eisenkiller

Saltatio Mortis:

(Lat. The Dance of Death) The junkets, turn-arounds and jumps took active part in the performance. There was no such thing as death among the very energetic medieval-rococo rhythms that the Germans had taken a special liking to: brass instruments and a guitar combined with warm, folk atmosphere urged to some ancient feasting, in a typically German and loud style, with campfires, crisping up of wursts and drinking of beer straight from the wood steins. We did not feel the penetrating cold due to the heat emanating from the stage. In all probability, everyone had a great time during the show. However, it should be mentioned that the highest amount of joy was experienced by a certain boy, who imperceptibly appeared on stage, just to wind up in the vocalist’s arm in the very next second. This act of kindness of Alea der Bescheidene made one child happy and touched hundreds of people who witnessed it.

00. Intro
01. Rastlos
02. Tritt ein
03. Tod und Teufel
04. Uns gehört die Welt
05. Varulfen (Rock)
06. Kaltes Herz
07. Koma
08. Manus Manum Lavat
09. Miststück
10. Salome
11. Prometheus
12. Wir säen den Wind
13. Falsche Freunde
14. Spielmannsschwur
15. Spielmannsschwur
16. Dunkler Engel



The Arctic-like temperatures, attacking every vulnerable one with their sneaky and icy tentacles, as well as hot showers in the camp bathrooms, long lines, hot coffees, pancakes and gyros will long be reminisced. Many people will surely not forget a deceptively sweet hint of wine, which nauseated more than one daring to taste it. One will nostalgically recall the faces of the well-known, as well as those of just-met, or reminisce those moments spent carelessly with acquaintances or with the strangers, who became unnaturally close due to their music fascinations.