VII Wroclaw Industrial Festival
The
seventh edition of Wrocław Industrial Festival will remain in my memory
as the one dominated by music imitating a long, restless sleep, a
mysterious tour of an unknown space, very experimental and turning
towards all kinds of mimesis or experiments for their own sake.
There was certainly less energy and vigour, but more reflexion, focus and contemplation – so whoever longed for such states was sure to find them at the festival. And time was plenty to appreciate the music – in 2008, the organisers served us a sort of ”prelude” in the form of two days (Wednesday, Thursday) free of charge, when one could freely “sample” the music that was to come and perhaps be encouraged to participate in the festival. There was also an additional event on Monday – a sort of completion and closure.
The core of the event was naturally the weekend, which – as was stated before – mainly lured lovers of experimental sounds, beautiful, tranquil and hypnotic.
Both artists and guests came from rally different ends of the world, so you can say that the mixing of cultures was satisfactory and enriching on both the social and the artistic level (as DJ Wiktor Skok pointed out, art was discussed intensively “backstage” :-). And it was simply fun, since nobody lacked good humour.
http://industrialart.eu
http://www.myspace.com/wroclawindustrialfestival
The days I’d like to describe more closely are Wednesday, Friday, Saturday, and Sunday – I had enough strength and will to see this much.
Starting from Wednesday, the guests moved from Browar Mieszczański, through the BWA Gallery and the Gothic Hall, to CRK, where the festival ended.
Wednesday’s show was opened by the Czech Anhedonia. I can’t say they were new to me – on the contrary, it was their vibrating, electrically charged sound that lured me to the spot that evening. Vojtech Smetana (managing sound) and Lukas Shiva (creating visuals) combined concentrated soundscapes with a strong, rhythmic beat, resulting in an artful creation that appealed to those who love transcendental journeys, as well as those who like to move their bodies.
http://www.myspace.com/anhedoniacz
The second act was the Polish The Embryonal Position and I have to say their show stirred and even shocked: on the textual, musical and visual levels.
The wailing of the double bass, lyrics of death, drawing dark and violent images and deep, moving vocals did not allow for even a moment of relief from the gloom the music provoked.
Maybe it’s good that a project exists which writes such lyrics in Polish (and not in English, German or any other language that would create a “protective” aesthetic barrier), combining it with visuals to amplify the effect. Some nightmarish stylistics and a voice of conscience, of needle that tears the fabric of reality and drags its less pleasant face into the light – those things are also needed. Even though it hurts and repulses.
Setlist:
nieszczęścia i cudowne znaki /reprise/2. lost voices3. oczy niebieskie4. 300 kobiet5. deutschland cafe6. osiem znaków7. limbo8. in extenso9. fiolet wspomnień10. jestem
encore;
11. przyjemność
http://www.myspace.com/theembryonalposition
Friday
transported us to the festival’s traditional centre – the Gothic Hall.
The moment I got there, I was enlightened – for the lighting this year
was fabulous (too bad most of the performers preferred the ”dark-as-hell” style anyway, but some projects did use the provided lights to enrich their shows and create a fantastic atmosphere).
The first band, Compulsive Shopping Disorder, was – I think – the only one to have prepared so rich decorations for WIF. Of course, by “rich decorations” I don’t mean any baroque ornaments, but the flickering television, the plastic doll the cross with the noose were suggestive enough to help build up the atmosphere. The same can be said of the vocalist’s bandaged face, the brutal scenes with guns and kicks (I dare say it all looked quite realistic) and the feelings of schizophrenic claustrophobia, insanity and helplessness emanating from the stage.
The music fitted the mood: aggressive, shouting sounds underlined the character of the concert; but a lot of good beats and dynamic melodies push CSD towards electro industrial climes (if you insist on such classifications, which – as we all know – are useful only to the critics).
What you need to know about CSD is that their stylistic and musical coherence and their strong expressiveness are very promising. We’re looking forward to a continuation.
The track list included: intro, mind soul, fall, in confidence, one way feelings, attraction of pain, dreams, in the cube.
http://www.myspace.com/compulsiveshoppingdisorder
http://www.c-s-d.pl/
H. Emlich and F. Merten, in other words Land:Fire,
took us inside a completely different musical universe, which based on
political visuals, impressions not unlike cascades of raw metal, an
unevenly revolving storm of aggression, a pounding war-machine, and an
industrial typhoon.
It’s hard to adequately describe this unbound, irregular sound, but one thing is for certain – the world of Land:Fire is full of unexpected twists and experiments which can’t be bound by traditional structures and frames.
http://www.myspace.com/landfire1
http://land-fire.de
Anenzephalia’s
gig could be described in short as an eco-protest, contestation and a
musical brainwash. At least that was my impression after I saw their
visuals, filled with scenes of war, with moods somewhere between H.
Bosch and masses of concrete; after I heard their music, with one or two
vocals based on repetitive, distorted shouts that seemed like a message
struggling to be heard against the rising tide of unsettling music. The
ripples of drilling noise, like a cacophony from some mechanical
metropolis, and the pulsating lights could easily disturb the more
sensitive listeners.
Generally, it all seemed like a series of subliminal messages, a form of hypnosis and indoctrination; which made me leave after about ¾ of the show.
This is not to say that the concert was received poorly: people were crowded by the stage, so maybe the aural hypnosis really worked.
http://www.myspace.com/anenzephalia
The Germans from Inade
presented some beautiful, ephemeral soundscapes, alternately unsettling
and soothing with their streams of electronic sounds. Pulsating,
growing cascades of sound, attacking you as in some nightmare, just to
fade into the background the very next moment, as if losing themselves
in their own labyrinth, complex but ethereal – it all sounded like a
deep trance.
An interesting concert, but one requiring 100% focus on the part of the listener.
http://www.myspace.com/samadhistate
http://inade.de
The last concert on Friday was the presentation of England’s Carter Tutti,
oscillating around trancelike, hypnotic, instrumentally complex
soundscapes balanced between tranquil vocals and mild, penetrating
melodies.
This well-balanced, concentrated concert – seeming like a dialogue, an improvisation, a casually flowing instrumental conversation – was an extremely stylish closure to Friday’s concert night.
During the concert, the following tracks were played: Unreality, Museum of Sleep, Calm Circle, Acid Tongue, It Was, Lowlands, Black Dust, Feral Vapours, Uncanny, The Last Ride
http://www.myspace.com/cartertutti
Next,
Blacha of synta[XE]rror jumped into action, along with VJ Trotula...
and I know nothing of what went on, because we decided to go home.
Saturday was like a continuation of Friday’s experimental mood, of which the first act – 6633 North – was tangible proof. My first association after hearing them was Pink Floyd, but the lively drums and wild guitar made that thought go away.
Long, intense, hypnotic passages with regular drums and guitar, plus the lively expression were certainly positive aspects of this concert. Part of it was a loose improvisation, of other pieces we were presented e.g. after the leaves, gamelan miner intro, swordfighter, procession
http://www.myspace.com/6633north
Visuals like from an avant-garde adaptation of A Midsummer Night’s Dream
(green flowers and changing images as from an enchanted forest) and
delicate, ephemeral music, suddenly interrupted by contrasting noises
(for example a dog barking) and transforming into more vigorous sound,
just to come back to the original dreamlike flow – this was Andrew Liles’s proposal.
This concert felt for me like a primordial ritual, and the uneasy visuals getting darker and darker, plus the wilder, more aggressive fragments of melodies only increased the sense of dread.
http://www.myspace.com/andrewwowenliles
http://www.andrewliles.com
Blind Cave Salamander
is a combination of cello, guitar and electronic that gives us a very
atmospheric mood. This calm, visually ascetic concert, based on music
that sounded almost classical, was interrupted from time to time by
contrasting industrial racket.
http://www.blindcavesalamander.com/
Nurse With Wound
prepared a whole range of instrumental experiments. Playing with their
feet, banging chains on a metal plate and other similar ideas definitely
gripped attention, and the music itself sounded like an impression of
the jungle at night.
Delicate sound interactions; dense passages set against a growing, intimidating background; irregular intrusions; the multiplicity of instruments; the vocals harsh as old whisky; the kaleidoscopic visuals – it all built a reflective whole having, however, a slight feel of a musical joke, capricious experimentation, and also a theatrical play, a session of hypnotic sleep.
Impressions were varied – that’s for sure.
http://www.myspace.com/babssantini
http://brainwashed.com/nww/
After the concerts, a party was hosted in the Hall by Dirk Ivens and Eric.
Sunday offered that for which, I must admit, I’d waited for since the very beginning: uncontrollable streams of energy, dynamism and movement.
Already the first project – the Slovakian duo calledDisharmony – presented a set rich in vibrating melody. The choppy, lively, slightly aggressive sounds and a very good visual side (the gents appeared masked a bit pharaoh-style:-) signalled to the audience: time to swing!
Some of us were more than eager to obey.
The track list included: Tombstone, Drops of Dust, Uranium, Travel, Deeper, Astral Border, Gone in Silence, Nautilus, Enemies, Dystopia, Life.
http://www.disharmony.aliens.sk
The reflective, focused, impressionistic performance by the one-man Czech project Vladimir Hirsch was an exception that day.
The live presentation of Symphony no. 4 – Descent From The Cross was like weaving a delicate string of silk, like a stroll in a misty garden, like a subtle landscape in pastel colours. A very sensitising and soothing show.
Parts: I. After Expiry, II. Night Under The Cross, III. The Descent, IV. The Pass From Golgotha, V. Entombment, VI. Apotheosis, VII. Epilogue: Marcus VI/16
http://www.myspace.com/hirschvladimir
http://www.vladimirhirsch.com/
The following two acts were, for me, the best of the whole festival. Empusae’s
gig must have been the first that really moved the audience from their
places. True, Sal-Ocin performed alone, but this did not stop him from
creating a fabulously energetic atmosphere vibrating with dance floor
madness. Whenever such artists present themselves to a live audience
causing a lively effect, it always reminds me that this music – apart
from aesthetic and intellectual treats – also carries joy and vigour,
and that one of its goals is to cause an influx of energy, to quicken
the slumbering vitality and euphoria. It definitely worked in Wroclaw.
The music, comprising fragments of the new Hatred of Trees album and the vivid error404: metaphorical loss, displayed both an unbelievably intensive dose of lively, uncontrolled, pulsating dynamics and a more delicate, trancelike, tranquil side. A very positively charging concert, bravo!
The presented tracks: waanzin, the hatred of trees, ekro-alakin, la puissance (forms de), hard boiled wonderland, entering oblivion, seygot, urficae.
http://myspace.com/empusae
http://www.empusae.com
The set by Oil 10
was kept in similar mood – very lively, fantastically dynamic, with a
great beat. Gilles Rossire is definitely a specialist when it comes to
mixing interstellar voyages and dreamlike climes with very dynamic,
kicking beats. They’re great for listening and even greater for dancing.
The presented tracks: Synchro 4 All, High Adventure, Happy Mondays, Lost in Metropolis, Grand Illusion, X Fleet, Le Bar.
http://www.myspace.com/oil10
http://www.oil10.com/
Sunday (and, for me, the whole festival) was ended by the performance by In Slaughter Natives
– a Swedish project bearing the thought-sound-word label. The sublime
musical combinations certainly stimulated the imagination, using moving
arrangements that were, at times, classical in their form, but
nonetheless soaked with dark matter, mystical and uneasy. The drums and
the choral parts that seemed to clash heaven and hell, the unsettling
soundscapes of a somewhat nightmarish nature, as from a heavy, hypnotic
fit of claustrophobia, a net that attacked the senses, mixing with
electronics. It’s hard to tell whether it was the aesthetic effect, the
intellectual impact or the catharsis that was most important, but all
three were successfully combined.
The band played: 1. Pure... the Suffering, 2. Truth Awakening, 3. Fifth Skin, 4. Purgate My Stain, 5. To Mega Therion, 6. You Are Dead, 7. As My Shield, 8. Tearing Life Away, 9. Ashes of Angels, 10. Death Just Only Death, 11. Blood Testural, 12: Clean Cathedral
http://www.myspace.com/inslaughternativesofficial
http://inslaughternatives.com/
The festival ended on Monday in CRK, after six days of intensive artistic labour.
To sum up, I would say this: the festival was fine, everyone knew what music to expect and neither the artists nor the audiences should have much to complain about.
And yet, as they say: it’s good and it can be better, but not necessarily perfect; so, I too will write some words of criticism.
Fist: the delays – half an hour, forty minutes; that is a bit too much for bands who don’t need to preset their sound a lot. Long (this is, of course, subjective) intervals needlessly elongate the festival day, especially if they make the performances end at 2 a.m. I understand that it’s a time for rest and conversation, but if it were a little bit shorter, then perhaps the festival would end at a more “civilised” time :-) which is not without significance when there are 2 or 3 days of concerts still ahead.
Second: not enough variation. I am fully aware that it’s all a matter of taste and so on, but I think it would take great determination to maintain enough concentration for five more or less the same kinds of concerts in a row and fully appreciate each of them (especially when it’s 1 a.m. and we hear ambient and nothing but ambient or musical experiments, and then the same thing for 2 or 3 more days), At some point, it just doesn’t matter anymore how beautiful and expressive the music is – and you start to wonder: “which project is this, exactly?” (I don’t mean the experts, of course, just regular participants like myself).
I like to get to know new bands, new music, even if it’s not what I listen to every day, but I’d appreciate it more if it didn’t melt away into one in the end. And I assure you that it’s not my unwillingness or boredom, not at all. Just – let me put it that way – regular “wear and tear.”
Third (perhaps least important): logistics (by which I mean toilet accessibility). I won’t give it too much attention, I will just say this: please, do something about it; lines half a hall long and the necessity to desperately invade the “sanctuary of the opposite sex” are too much :-)
Fourth and final: after parties. Something’s definitely not working there, but it’s a controversial issue – you can’t please everyone, you know. When the concerts were held in smaller halls, there was not enough space; now that they’re in the Gothic Hall, there’s “too much room and no atmosphere.” And you have to wait for the bans to gather their stuff and the DJs to set up, so most of the crowd will go home before it’s done. Well, I’ve heard all kinds of complaints (one opinion was that the best solution so far was partying in the Gothic Hall’s “underground”), but isn’t anything better than the proverbial Mańana? So it’s not that I’m being bitter about it – I know, it’s hard to grant all wishes – just humbly signalling a problem.
One thing is for certain: it would be much better if the after parties – if they are to be held – started a bit earlier.
These are, no doubt, lesser issues, not distorting the whole image.
And the image was beautiful indeed – perhaps more importantly impressionistic, innovative and even shocking, but nonetheless beautiful.
The undeniable positives are: the quality and value of the music; the great, friendly atmosphere; the fact that more and more people are coming to the fest from all kinds of places, and the event allows us to meet and talk; that the conditions are generally improving. And so, the general impression is positive.
It’s all heading in the right direction.
We’re counting on a continuation next year.
There was certainly less energy and vigour, but more reflexion, focus and contemplation – so whoever longed for such states was sure to find them at the festival. And time was plenty to appreciate the music – in 2008, the organisers served us a sort of ”prelude” in the form of two days (Wednesday, Thursday) free of charge, when one could freely “sample” the music that was to come and perhaps be encouraged to participate in the festival. There was also an additional event on Monday – a sort of completion and closure.
The core of the event was naturally the weekend, which – as was stated before – mainly lured lovers of experimental sounds, beautiful, tranquil and hypnotic.
Both artists and guests came from rally different ends of the world, so you can say that the mixing of cultures was satisfactory and enriching on both the social and the artistic level (as DJ Wiktor Skok pointed out, art was discussed intensively “backstage” :-). And it was simply fun, since nobody lacked good humour.
http://industrialart.eu
http://www.myspace.com/wroclawindustrialfestival
The days I’d like to describe more closely are Wednesday, Friday, Saturday, and Sunday – I had enough strength and will to see this much.
Starting from Wednesday, the guests moved from Browar Mieszczański, through the BWA Gallery and the Gothic Hall, to CRK, where the festival ended.
Wednesday’s show was opened by the Czech Anhedonia. I can’t say they were new to me – on the contrary, it was their vibrating, electrically charged sound that lured me to the spot that evening. Vojtech Smetana (managing sound) and Lukas Shiva (creating visuals) combined concentrated soundscapes with a strong, rhythmic beat, resulting in an artful creation that appealed to those who love transcendental journeys, as well as those who like to move their bodies.
http://www.myspace.com/anhedoniacz
The wailing of the double bass, lyrics of death, drawing dark and violent images and deep, moving vocals did not allow for even a moment of relief from the gloom the music provoked.
Maybe it’s good that a project exists which writes such lyrics in Polish (and not in English, German or any other language that would create a “protective” aesthetic barrier), combining it with visuals to amplify the effect. Some nightmarish stylistics and a voice of conscience, of needle that tears the fabric of reality and drags its less pleasant face into the light – those things are also needed. Even though it hurts and repulses.
Setlist:
nieszczęścia i cudowne znaki /reprise/2. lost voices3. oczy niebieskie4. 300 kobiet5. deutschland cafe6. osiem znaków7. limbo8. in extenso9. fiolet wspomnień10. jestem
encore;
11. przyjemność
http://www.myspace.com/theembryonalposition
The first band, Compulsive Shopping Disorder, was – I think – the only one to have prepared so rich decorations for WIF. Of course, by “rich decorations” I don’t mean any baroque ornaments, but the flickering television, the plastic doll the cross with the noose were suggestive enough to help build up the atmosphere. The same can be said of the vocalist’s bandaged face, the brutal scenes with guns and kicks (I dare say it all looked quite realistic) and the feelings of schizophrenic claustrophobia, insanity and helplessness emanating from the stage.
The music fitted the mood: aggressive, shouting sounds underlined the character of the concert; but a lot of good beats and dynamic melodies push CSD towards electro industrial climes (if you insist on such classifications, which – as we all know – are useful only to the critics).
What you need to know about CSD is that their stylistic and musical coherence and their strong expressiveness are very promising. We’re looking forward to a continuation.
The track list included: intro, mind soul, fall, in confidence, one way feelings, attraction of pain, dreams, in the cube.
http://www.myspace.com/compulsiveshoppingdisorder
http://www.c-s-d.pl/
It’s hard to adequately describe this unbound, irregular sound, but one thing is for certain – the world of Land:Fire is full of unexpected twists and experiments which can’t be bound by traditional structures and frames.
http://www.myspace.com/landfire1
http://land-fire.de
Generally, it all seemed like a series of subliminal messages, a form of hypnosis and indoctrination; which made me leave after about ¾ of the show.
This is not to say that the concert was received poorly: people were crowded by the stage, so maybe the aural hypnosis really worked.
http://www.myspace.com/anenzephalia
An interesting concert, but one requiring 100% focus on the part of the listener.
http://www.myspace.com/samadhistate
http://inade.de
This well-balanced, concentrated concert – seeming like a dialogue, an improvisation, a casually flowing instrumental conversation – was an extremely stylish closure to Friday’s concert night.
During the concert, the following tracks were played: Unreality, Museum of Sleep, Calm Circle, Acid Tongue, It Was, Lowlands, Black Dust, Feral Vapours, Uncanny, The Last Ride
http://www.myspace.com/cartertutti
Saturday was like a continuation of Friday’s experimental mood, of which the first act – 6633 North – was tangible proof. My first association after hearing them was Pink Floyd, but the lively drums and wild guitar made that thought go away.
Long, intense, hypnotic passages with regular drums and guitar, plus the lively expression were certainly positive aspects of this concert. Part of it was a loose improvisation, of other pieces we were presented e.g. after the leaves, gamelan miner intro, swordfighter, procession
http://www.myspace.com/6633north
This concert felt for me like a primordial ritual, and the uneasy visuals getting darker and darker, plus the wilder, more aggressive fragments of melodies only increased the sense of dread.
http://www.myspace.com/andrewwowenliles
http://www.andrewliles.com
http://www.blindcavesalamander.com/
Delicate sound interactions; dense passages set against a growing, intimidating background; irregular intrusions; the multiplicity of instruments; the vocals harsh as old whisky; the kaleidoscopic visuals – it all built a reflective whole having, however, a slight feel of a musical joke, capricious experimentation, and also a theatrical play, a session of hypnotic sleep.
Impressions were varied – that’s for sure.
http://www.myspace.com/babssantini
http://brainwashed.com/nww/
Sunday offered that for which, I must admit, I’d waited for since the very beginning: uncontrollable streams of energy, dynamism and movement.
Already the first project – the Slovakian duo calledDisharmony – presented a set rich in vibrating melody. The choppy, lively, slightly aggressive sounds and a very good visual side (the gents appeared masked a bit pharaoh-style:-) signalled to the audience: time to swing!
Some of us were more than eager to obey.
The track list included: Tombstone, Drops of Dust, Uranium, Travel, Deeper, Astral Border, Gone in Silence, Nautilus, Enemies, Dystopia, Life.
http://www.disharmony.aliens.sk
The live presentation of Symphony no. 4 – Descent From The Cross was like weaving a delicate string of silk, like a stroll in a misty garden, like a subtle landscape in pastel colours. A very sensitising and soothing show.
Parts: I. After Expiry, II. Night Under The Cross, III. The Descent, IV. The Pass From Golgotha, V. Entombment, VI. Apotheosis, VII. Epilogue: Marcus VI/16
http://www.myspace.com/hirschvladimir
http://www.vladimirhirsch.com/
The music, comprising fragments of the new Hatred of Trees album and the vivid error404: metaphorical loss, displayed both an unbelievably intensive dose of lively, uncontrolled, pulsating dynamics and a more delicate, trancelike, tranquil side. A very positively charging concert, bravo!
The presented tracks: waanzin, the hatred of trees, ekro-alakin, la puissance (forms de), hard boiled wonderland, entering oblivion, seygot, urficae.
http://myspace.com/empusae
http://www.empusae.com
The presented tracks: Synchro 4 All, High Adventure, Happy Mondays, Lost in Metropolis, Grand Illusion, X Fleet, Le Bar.
http://www.myspace.com/oil10
http://www.oil10.com/
The band played: 1. Pure... the Suffering, 2. Truth Awakening, 3. Fifth Skin, 4. Purgate My Stain, 5. To Mega Therion, 6. You Are Dead, 7. As My Shield, 8. Tearing Life Away, 9. Ashes of Angels, 10. Death Just Only Death, 11. Blood Testural, 12: Clean Cathedral
http://www.myspace.com/inslaughternativesofficial
http://inslaughternatives.com/
To sum up, I would say this: the festival was fine, everyone knew what music to expect and neither the artists nor the audiences should have much to complain about.
And yet, as they say: it’s good and it can be better, but not necessarily perfect; so, I too will write some words of criticism.
Fist: the delays – half an hour, forty minutes; that is a bit too much for bands who don’t need to preset their sound a lot. Long (this is, of course, subjective) intervals needlessly elongate the festival day, especially if they make the performances end at 2 a.m. I understand that it’s a time for rest and conversation, but if it were a little bit shorter, then perhaps the festival would end at a more “civilised” time :-) which is not without significance when there are 2 or 3 days of concerts still ahead.
Second: not enough variation. I am fully aware that it’s all a matter of taste and so on, but I think it would take great determination to maintain enough concentration for five more or less the same kinds of concerts in a row and fully appreciate each of them (especially when it’s 1 a.m. and we hear ambient and nothing but ambient or musical experiments, and then the same thing for 2 or 3 more days), At some point, it just doesn’t matter anymore how beautiful and expressive the music is – and you start to wonder: “which project is this, exactly?” (I don’t mean the experts, of course, just regular participants like myself).
I like to get to know new bands, new music, even if it’s not what I listen to every day, but I’d appreciate it more if it didn’t melt away into one in the end. And I assure you that it’s not my unwillingness or boredom, not at all. Just – let me put it that way – regular “wear and tear.”
Third (perhaps least important): logistics (by which I mean toilet accessibility). I won’t give it too much attention, I will just say this: please, do something about it; lines half a hall long and the necessity to desperately invade the “sanctuary of the opposite sex” are too much :-)
Fourth and final: after parties. Something’s definitely not working there, but it’s a controversial issue – you can’t please everyone, you know. When the concerts were held in smaller halls, there was not enough space; now that they’re in the Gothic Hall, there’s “too much room and no atmosphere.” And you have to wait for the bans to gather their stuff and the DJs to set up, so most of the crowd will go home before it’s done. Well, I’ve heard all kinds of complaints (one opinion was that the best solution so far was partying in the Gothic Hall’s “underground”), but isn’t anything better than the proverbial Mańana? So it’s not that I’m being bitter about it – I know, it’s hard to grant all wishes – just humbly signalling a problem.
One thing is for certain: it would be much better if the after parties – if they are to be held – started a bit earlier.
These are, no doubt, lesser issues, not distorting the whole image.
And the image was beautiful indeed – perhaps more importantly impressionistic, innovative and even shocking, but nonetheless beautiful.
The undeniable positives are: the quality and value of the music; the great, friendly atmosphere; the fact that more and more people are coming to the fest from all kinds of places, and the event allows us to meet and talk; that the conditions are generally improving. And so, the general impression is positive.
It’s all heading in the right direction.
We’re counting on a continuation next year.
