There are only a few festivals that can cause that after their ending you get an instant impulse to return there as soon as possible. Berlin Atonal is surely one of those events. After last year’s successful resurrection of this over-30-years old event (founded by Dimitri Hegemann), we were more than sure that we need to go back to the industrial cathedral called Kraftwerk and feel & see more.
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Last year’s Atonal lasted longer and its program was full of remarkable artists from various electronic subgenres, but this year despite its shorter duration (from Wednesday 20th August till Sunday 24th August) was also packed with exceptional performances and what’s more important — it offered an overwhelming sound experience delivered by 4D Sound. Developed by a team of engineers and sound designers in Amsterdam, this specially designed sound system allows spatiality of sound to be designed in great detail by controlling parameters such as distance, elevation, angle and diffusion. The 4D Sound stage was placed in the ground floor of Kraftwerk and during the festival it hosted performances of Thomas Vaquié, Murcof, Biosphere and Senking. Since we went to see only Friday and Saturday´s program, we were able to catch and compare performances of the ambient god Biosphere and Raster-Noton’s stalwart Senking. As expected, Biosphere’s performance was more about nature based sound and field-recording sounds, kind of being at a forest-live experience. Unlike the following day, Senking’s performance brought to the space more of crystal-clear and precise sound with even some broken beats that perfectly revealed how astonishing the 4D soundsystem is. Anyway, both performances were one of the most outstanding sound experience ever — just imagine that you can feel how live and organic the sound actually is. Unbelievable.
4D Sound at Berlin Atonal
As mentioned before, we were able to catch only two days. About Friday it could be said it was mostly about minimalistic sound surfaces and calm atmosphere. During this evening we actually witnessed two comebacks of last year’s program – Dasha Rush and Donato Dozzy and Nuel (also known as Voices from the Lake). For this year, Dasha prepared an one-off A/V show titled Antarctic Takt and for its visual side she invited Stanislav Glazov to create a digital version of antarctic landscape. Icy and cold visually, but musically very warm. Swedish artist Abdulla Rashim, who also collaborated with a visual artist for his premiere A/V show, delivered explorations throught sound textures and beatless music. Unfortunately, for us it was a bit empty and we definitely prefer his techno sounds… On the contrary, a pleasant surprise came with the premiere performance of Dozzy and Nuel titled Aquaplano Sessions. Italian masters demonstrated their sound we love most– atmospheric and hypnotic sounds soaked with slow-mo beats. Much better than last year actually! However, the biggest act was yet to come… Around midnight on stage arrived a person (probably male) with black dress and fringe instead of his/her face — Headless Horseman. At that point, everything changed. In the first moments it felt like when your alarm rings in the morning and you need to start doing something. Well, in this case, it was actually very welcomed, one could finally dance! Horseman’s raw and dark beats were inexorable but at the same time full of energy. Accompanied by great visuals, this was top act of Friday’s Atonal program without any question.
Unlike Friday, Saturday’s program was musically more diverse. The beginning was also a bit slowly and minimalistic but in a different way than day before. Both Max Loderbauer and Neel did a great job with their performances and warming up the atmosphere inside the powerplant. Musically interesting but yet still a bit unbalanced was the performance of Bleed Turquoise (new project of James Ginzburg). Their mix of aggressive and heavy sound with a bit of post punk elements and deep vocals was at some moments very impressive but at some moments too hard and strange. One way or another, it was something different. Although, there is no need to think twice what was the most expected act of Saturday’s program… After almost 20 years returned on stage a influential British project Cabaret Voltaire. Richard H. Kirk brought zero nostalgia and ultimate analogue experience. Blurring the boundaries of musical genres, he went during his one-hour performance from jungle breaks to straight techno rhythms. Behind him, haunting and psycho visuals just enhanced the whole atmosphere. It was such a deep feeling that when Tri Angle stalwart Fis came up on stage, it was hard focus at first and listen to his performance. Still stucked within Voltaire’s world and we felt it’s just the best moment to leave and let the mind to absorb a whole experience…
Looking back, there is no doubt that Berlin Atonal is incredibly evolving and it has become a guarantee of an exceptional music experience. With its unique line-up, smooth organisation, delicious food or underground afterparties — there is really nothing which this festival could miss in its character. We simply love the way it is. See you next year!
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Cabaret Voltaire (Richard R. Kirk) live
Headless Horseman live
Neel live
All pictures by Camille Blake
Headless Horseman Live at Berlin Atonal
