More of that WV Sorcery with ARROKOTH, DOPE PURPLE & KAWABATA MAKOTO and SCATTERED PURGATORY

Yes, once again I give you a bunch of recent releases by the commendably unique French/Chinese one man label WV Sorcerer Productions! We're starting with a record I could have grabbed directly from the band's merch table after their fantastic show in Husum - but alas, I had to wait a little longer, since I had already preordered it. (I did however get another album exclusively available at their shows.)

DOPE PURPLE - Live Evil (Coral Pink vinyl LP) (2026)

Yes, this is as wild as the two names on the cover - and the downright audacious album title famously used by Miles Davis and Black Sabbath before - promise: During this hometown show in June 2025 the Taiwanese Psychedelic Rock maniacs Dope Purple were aided my none other than their obvious paragon, Japanese Psych Noise legend Kawabata Makoto from Acid Mothers Temple!

Armed with drums, bass, synths and (including Makoto) three guitars the band wastes no time and immediately shows us what that means. We've heard "New Psyche & Beyond The Body" before, but this version is the noisiest, most rabid version yet. There are no brass or other wind instruments involved in the three longtracks of "Live Evil", but with all those chaotic trippy cascades of Boris-level six string Noise and relentless Kraut overfeed(back)ing your floored ears won't miss it, because how could this insane force of sonic overflow possibly not be enough?

This album surely isn't Dope Purple's most beautiful or delicate work, but fuck yeah, it will cleanse the space between your ears for good! Is that's too much for you I won't even judge - personally I'm having a blast with it. So far these freaks seem incapable of dissappointing me. And with coloured vinyl and OBI strip the presentation by WV Sorcerer is great as usual as well. Bottom line: banger!

ARROKOTH - Avàvâgo Zamran! (CD) (2026)

Arrokoth is a celestial object in the Kuiper Belt beyond Neptune. It's also a project initiated by Neptunian Maximalism mastermind Guillaume Cazalet, featuring John McKusick, Dimitar Dimitrov and guest Zakiyya Mahmudova. Uniting traditions from Central and Southeast Asia, India and Northern Africa it clearly resides within his signature realm of trans-cultural, trans-historic shamanistic world music, his other projects have built before.

Passages of these long ritualistic tracks would easily fit into the context of any Neptunian Maximalism or Zaäar release. This album however presents the most shapelessly flowing, primordial Ambient form of Cazalet's vision. The four average nineteen minutes long tracks use a familiar array of sounds, created by gongs, bowls, other percussion instruments, electronics, incantatory vocals and throat singing. The latter has such an important role that "Avàvâgo Zamran!" feels like a wanderlustly cousin of Phurpa.

The packaging of this simple digipak CD may not be the most spectacular we've seen either from the artist or label, but the music contained here is a highly immersive and transcendent experience. A meditation like spiritually hovering inside the eternal pulse of Earth's core. The sound of forever.

破地獄 SCATTERED PURGATORY - 破地獄 Post Purgatory (CD) (2026)

Last but not least here's another CD in the label's signature 7" + OBI strip packaging, by a band I would probably have an easier time talking about, had I seen them at Roadburn Festival this year, where they unfortunately clashed with several other artists including Acid Mothers Temple (what a small world!), who I ultimately ended up seeing.

The Taiwanese duo (extended to a full band by guest musicians on drums, saxophone and vocals) comfortably fits into the WV Sorcerer roster with a musical language beyond genre restrictions, which brings together many approaches familiar to connoisseurs of the label and beyond, bridging worlds between the cosmic flow of artists like Senyawa or those reviewed above to the Urban heartbeat in the music of Mong Tong or the collaboration of Jaydawn and Wukir Suryadi. Is it based on Trip Hop or Kraut Rock? Does it contain more Doom Metal or Asian Pop influences? Is this Industrial-infused Electronic Music or Psychedelic Rock ornated with Spiritual Jazz and Drone?

You presage the answer: Scattered Purgatory's "Post Purgatory" is everything, often at once, but none of those exactly. Speaking and singing in Taiwanese, Chinese and English, yet playing in musical languages from many more cultures and times, the artists take us onto an anachronistic journey through their strong, uncompromising vison. With a surpisingly clean, but not sterile production this album is easily accessible despite its Experimnetal nature. An exciting, seriously fascinating joy to listen to. 

BIG|BRAVE - In Grief Or In Hope

It's a curious thing that it took me a very long time to get (to this day not fully) warmed up to the sound of Big|Brave's last regular work "A Chaos Of Flowers", even though the shows at A Colossal Weekend and on the MS Stubnitz in 2024, which featured the album's material, both were among my favorite concerts of that year.

Too much weird compression and vocal effects? Just something about the guitar sound? In hindsight it sounds like a turning point in the band's direction, because what challenged me back than is even more present on the latest release of the Canadian trio. This time however I was loving it immediately.  

BIG|BRAVE - In Grief Or In Hope (clear pink vinyl LP) (2026)

The opener "What May Be The Kindest Way To Leave" only needs seconds to establish that both the guitars and Robin Wattie's vocals on "In Grief And In Hope" are heavily processed and noisily distorted to a point beyond the just excessively ridiculous, where it somehow is a powerful artistic tool  again, expressing distanced alienation and close emotional confrontation at the same time.

Maybe the production achieves what was intended already two years ago, but in order to function as brilliantly as it does now, a change of Big|Brave's musical direction had to occur, that hadn't been carried out yet.

So wait? It isn't austerely arranged Drone and Noise any more? Oh yes it, but there has been a crucial change in the band's lineup!

My Disco bass player and long time fourth touring member of Big|Brave Liam Andrews is an official part of the group on the album now, but apart from guest distributions by engineer/producer Seth Manchester on synth and Luc van Weelden on spring reverb box, this is still a trio recording, because there are no drums anymore.

And while it's still hard to imagine Big|Brave performing without Tasy Hudson in the back of the stage, I must admit that the band reaches a new level of both expressive tension and meditative immersion here, which further emphasizes the uniquity of their emotionally driven minimalist Drone Rock. And tracks like "An Uttering Of Antipathy" or "The Ineptitude For Mutual Discernement" can easily rival the highlights of their quickly crawling and growing discography.

What makes these pieces work as songs is of course not only the sheer accumulation of Industrial-spirited harsh guitar and electronic Noise, but the juxtaposition to the greatest melodic Pop appeal in the vocal performance the band has ever had.

"In Grief Or In Hope" truly unites the ugliest and most beautiful sides of Big|Brave in a daring and surprisingly successful simultaneity. It's a remarkable experience even for these artists' standards.

Once again released by Thrill Jockey, the record comes as a nice clear pink vinyl pressing (CDs and another sold out variant also exist) with lyrics on the inner sleeve and the probably stupid question What's that cover photo about? Is it a black trash can? The actually Black Lodge? Seriously, I need help here. 

THE KILIMANJARO DARKJAZZ ENSEMBLE / THE MOUNT FUJI DOOMJAZZ CORPORATION - Live In Berlin

I guess it's a law of inevitability that whenever you're really adamant on saving money and not visiting this show or not needing that limited edition vinyl, some luxury good you just cannot say no to comes along. Like this big beautiful four-LP box documenting the whole comeback double performance of The Kilimajaro Darkjazz Ensemble aka The Mount Fuji Doomjazz Corporation on August 29th 2025 in the Lido, Berlin. 

Since I had centered a whole musical weekend trip around this event and witnessed the quintet from the front row, this box set basically was pure catnip for me. 

THE KILIMANJARO DARKJAZZ ENSEMBLE /

THE MOUNT FUJI DOOMJAZZ CORPORATION - Live In Berlin

(4LP vinyl box) (2026)

In my live review I had seperated the two shows before and after a brief intermission, labeling one as a Kilimajaro and the other as a Mount Fuji performance, even though I wasn't sure about this attribution at all. And now with the whole tracklist at hand I can confirm that technically the whole night exlusively belonged to The Kilimanjaro Darkjazz Ensemble, since both sets were based on the main project's already existing material, especially from the albums "Here Be Dragons" (2009) and "From The Stairwell" (2011).

However there is an eery, nocturnal edge in the way the current line-up interprets the material, which feels more like the strictly improvisational music of The Mount Fuji Doomjazz Corporation. So besides the obvious messaging that both incarnations of the group are back and available for future endeavours, it is also artistically warranted that this release wears both names on its cover without distinction.

I will admit that I am surely biased when I crown these more than two hours of Dark/Doomjazz immersion as the new holy grail of the group's work, but this excellently recorded mammoth release just gives you almost everything you could wish for inside the sonic cosmos Gideon Kiers (electronics, effects) and Jason Köhnen (bass, theremin) have established. A smooth blend of Ambient, slow motion Jazz, Dub, Doom, Drone, Post Rock, Classical and Folk music that feels like a wonderful soundtrack to countless escapist cinematic experiences spawning in your head.

Especially the far away mystically processed vocalizations of Charlotte Cegarra underline the dreamlike quality, while the versatile trombone and trumpet of Hilary Jeffery does so much more than I expected before experiencing this show. And adding a secong brass player for the encore with "The MacGuffin" and the closing "Reprise" is of course a worthy elevation of the finale.

The Kilimanjaro Darkjazz Ensemble / The Mount Fuji Doomjazz Corporation

Speaking of worthy: Everything comes in a solid slipcase with each of four records in its own sleeve. It looks great and the vinyl quality matches the looks.

The only thing which easily could have been done better is the A3 poster of a polaroid picture of the band taken in the Lido lobby. Instead of having to fold it this would have been way cooler presented as a vinyl-format square matte print. Other than that this box is pretty much perfect.

As an additional perk when ordering online (the few remaining copies are only available at recent and coming live shows!) you got a private YouTube link to the professional video recording of the whole show. Nice!

No doubt: As of now "Live In Berlin" immediately jumps right to the top of my (obviously work in progress) album of the year list. This is special.    

FRA DET ONDE - Smilet Er En Flyktig Tilstand

I'll try to keep this brief, since I just don't want anyone to blame me on missing out on this record only because reading my review took so long. The thing is: There's no digital release. So if you don't get Fra Det Onde's new album on vinyl - you won't get it at all!

FRA DET ONDE - Smilet Er En Flyktig Tilstand (LP + Flexidisc) (2026)

This Norwegian Electric Free Jazz group has a special place in my heart for giving me my favorite live show of 2021, while I was on a four-day music vacation in Denmark, where events came back earlier than in Germany after the pandemic. Just like on their 2020 EP "feat. the legendary Emil Nikolaisen" the trio of Olaf Olsen (drums), Rune Nergaard (bass) and Erik Kimestad Pedersen were joined by said musician / producer at that remarkable performance.

Fra Det Onde

On "Smilet Er En Klyktig Tilstand" (="Smiling Is A Fleeting State") he is once again adding organ, electronics and maltreated production and is finally instated as an official fourth band member.
From the get-go the album feels like a Heavy Jazz Fusion fever dream which recreates the wildest phase of Miles Davis, but firmly places it into a world which already knows Noise Rock, Jazzcore or the Brass Metal of Ottone Pesante, without Fra Det Onde actually sounding like one of those.

At the heart of tracks with nonsense titles such as "Zed Leppestift" or "Dummyman137" still lie majestic trumpet melodies and Olsen's bonkers drumming being held together the electric bass. But the chaotic textures and noises added by Nikolaisen - plus samples and various spoken word narrations by Zabina Davari Elfang - just give the music a sensation of permanent ridiculous overflow. "Smilet Er En Flyktig Tilstand" is a masterfully performed dirty mess between exuberance and sheer insanity.

live at Musikhuset Dexter, Odense

Most titles flow directly into each other like one unbroken stream of swirled consciousness, so I didn't even try to divide side A into the three tracks it actually contains, when I made my own digital copy. Contrary to the label's usual practice El Paraiso Records didn't even include a download card this time.
But don't worry too much; with 500 vinyl copies the release actually isn't too limited for you not to still have the chance to grab it.

If you order it directly from the label shop - which thankfully can ship cheaper to destinations outside of Denmark now - you'll also get a little yellow goodie in the shape of a Flexidisc. Musically these four minutes on low-fi medium aren't very essential. Just a snippet of the album track "Rex-Ronya" as well as a live excerpt of the older song "From". You'll survive without it, but it's nice to have and adds to the obscure quirkiness of it all.

MERCHBUNGE feat. HAMASAARI and OVERHEAD, THE ALBATROS

Last weekend I've been to a cozy little open air festival in the heart of Schleswig-Holstein. Most of the bands at Woodbunge are regional or from the further south or east of Germany, but they also know how to surpsise their audience with inriguing artist from France or even flying a band over here for just one show.

I wasn't in a big spending mood, but I brought at least these two albums home with me:

HAMASAARI - Pictures (CD) (2026)

Due to the illness of one of their guitar players I had to watch HamaSaari as trio, and even though it was still great, that's of course one point, where their recent album "Pictures" immediately offers a superior richness in volume and variety.

The French quartet plays Progressive Rock, yet isn't too occupied impressing us with fast scales, but rather focusses on songwriting and above everything else emotion, which is carried by falsetto and harmony vocals in tight connection to a very dynamic instrumental performance between filigreed Folk frailty, Post Rock beauty and cathartic outbreaks.

Granted not every chorus is equally strong, but all in all these moving forty minutes, which remind me of Scandivian Prog artists as much as of Cynic's straighter work, Our Oceans or a little bit of late Thought Industry - if that reference even means anything to anyone - go by pleasantly fast. 

OVERHEAD, THE ALBATROS - Lads With Sticks / Mr. Dog / Think Thank Thunk (red splatter vinyl LP) (2011/2012/2026)

The latest record by the Irish band Overhead, The Albatros is a vinyl compilation of their first EP and single releases from fifteen years ago. So what I bought here hasn't much to do with their concept show focussing entirely on their 2024 album "I Leave You This", which I at least got digitally from Bandcamp later.

With less Electronic, Dance and Experimental shenanigans their early material is more about the classic picture of Post Rock with many instruments adding cinematic layers. While the picture isn't as wholly unique yet, you can already feel the adventurous ambition and a spiritual kinship to the profound instrumental narrative style of Bruit ≤ here, especially when Progressive arrangements and complex drumming are contrasted by contemplative piano, soaring strings or yearning lead guitars.
The obviously expected Pink Floyd influence - given the band name being a direct quotation from "Echoes" - isn't as strong as one would think, but some subtle nods to Gilmour / Waters certainly can't be denied.

Even though this is a different band than the one which floored me last Saturday, this is already absolutely great stuff. My only critique is that a bit of space could have been saved in my shelf by packing this in a regular sleeve. The beautiful artwork would be just as convincing without the luxury of being spread onto a gatefold.

WOODBUNGE FESTIVAL 2026 • Samstag, 04. Juli • mit DAS HEINRICH MANÖVER, HAMASAARI, OVERHEAD THE ALBATROS, THOUGHTS und VERTIGO HIL

Rechtzeitig nach der Rekordhitzewelle habe ich dieses Wochenende meine persönliche Open-Air-Saison mit eher regnerischen, aber weit von katastrophal entfernten Aussichten eröffnet. (Und nein, meine Saison wird dieses Jahr nicht wie bei wirklich üblem Regen 2024 nur aus diesem einen Tag bestehen.)

Es zog mich mich gestern nach Holzbunge, wo der zweite Tag des Woodbunge Festivals stattfand. Als ich 2023 am Freitag dort gewesen war, hatte ich die Veranstaltung noch als gemütliche kleine, mit Liebe gemachte Gartenparty kennenlernt. Diesmal allerdings war mehr los als auf Orange Shitlers großer Freedom 250-Feier auf der National Mall in Washington.

Es war also noch immer genauso kuschelig familiär. ;)

VERTIGO HIL

Da die Lübecker Stoner Rocker DeGreaver kurzfristig wegen eines Schulterbruchs absagen mussten, stand als erstes das Hamburger Trio Vertigo Hil auf der Bühne, welches in eine ähnliche, aber nicht identische Richting ausschlug, da neben schwerem Blues auch ein gewisser Pop-Appeal in ihren unbetitelten, nur nummerierten Songs mitschwang.

Das war ehrlich gesagt ein wenig wechselhaft. Zwischendurch, gerade wenn die Sängerin ihre Gitarre zur Seite legte, staunte ich schon kurz, wie fett und vollständig der Sound mit nur einer Klampfe klang, und ein paar Stücke fand ich richtig gut.

Wirklich schlecht fand ich tatsächlich auch nichts, aber insgesamt war mir in der Nummer ein bisschen zu viel gleichförmig austauschbares Midtempo. Wenn die Dame und Herren die Richtung ihrer besten Ideen weiterverfolgen, sehe ich mich zukünftig begeistert.  So war es respektabel, aber irgendwie schon noch mit einer gewissen Band-die-nachmittags-zuerst-auf-dem-Festival-spielt-Energie.

DAS HEINRICH MANÖVER

Das Woodbunge hatte auf den letzten Drücker noch ordentlich organisatorische Löscharbeit leisten müssten, denn auch die Post / Progressive Rocker Thræds fielen nach einem Arbeitsunfall aus. Der Ersatz für die Berliner verschob das musikalische Gleichgewicht des Tages allerdings stärker, zauberte man doch die Hip Hop-Gruppe Das Heinrich Manöver aus dem Hut.

Man weiß in dem Genre ja nicht immer so ganz genau, wie viel Livemusik man überhaupt bekommt, oder ob die "Band" eigentlich "nur" eine Crew von Rappern ist.
Im Fall dieser Hamburger gab es von jenen allerdings mit dem Frontmann und in Backup-Rolle dem Drummer nur zwei. Es gab also handgemachte Mucke inklusive Gitarre, Bass und Synthies - und die taugte richtig.

Betrunkene Beats, Funk, Dub, Punk, Rock, Weltraum, anspruchsvolle Arrangements, die wie der Arsch auf den lyrischen Eimer passten. Und meine liebsten von Doc Sleiwas mit rauer Stimme rausgehauenen Pointen hatten mit Döner und Bernd Höcke zu tun. Was will man mehr? War geil! 

THOUGHTS

Als nächstes gab dann das hier eher erwartete Programm mit zwischen Atmosphäre und polymetrischer Rhythmik riffendem Instrumental-Post Metal. Dass Thoughts schweinetight waren, überraschte nicht, wurde das Rostocker Trio doch aus einem gemeinsamen Bart geklont. Und die drei spielten natürlich auch auf Klick mit reichlich Backingtracks, die der Musik erst ihre epische Breitwandigkeit verliehen.

Das war alles ziemlich gut gemacht, auch wenn ich mir ein paar Ausbrüche der bombastisch ausgedrückten Stimmung aus der für "Post"-Musik oft typischen Ambivalenz gewünscht hätte. Anderseits drückt wohl kaum ein Bandname mehr "könnte jedes Gefühl sein" aus als das suchmaschinenunfreundliche Thoughts.

Um sich von Dynamik und auch Bühnenaction her noch richtig zu steigern, bräuchte die Band im Grunde noch einen Synth / Electric Wind Instrument / Saxophon-Spieler, der das ganze Backingtrackgedöns live übernimmt. Das wär's! Aber man muss anderseits natürlich auch nicht alles haben, um eine gute Show zu spielen.

HAMASAARI

Noch ein Ausfall! Diesmal fiel aber keine komplette Band aus. Ein erkrankter Gitarrist zwang die Franzosen HamaSaari allerdings statt zu viert als Trio aufzutreten. Und auch wenn man sich einiges noch fetter und mit zusätzlichen Harmonien vorstellen konnte, wäre mir die Unterbesetzung ohne Hinweis wahrscheinlich gar nicht aufgefallen.

Es ging weiter mit immer noch technisch anspruchsvoller, aber emotional feinsinnigerer Musik. HamaSaari spielten jene Sorte progressiven Post / Art Rock mit Folkeinfluss, die weit mehr um Gefühle als um spielerische Schauwerte kreiste. Insbesondere die Falsett- und Harmoniegesänge von Jordan und Jonathan Jupin waren weit jenseits von dem, was das durchschnittliche Dorf-Open-Air zu bieten hat.

Richtig schön organisch explodieren konnte die Musik ab und zu auch. Wie gut das wohl erst zu viert gewesen wäre? Wunderbare Band! 

OVERHEAD, THE ALBATROS

Wie beschert man mir einen Pink Floyd-Ohrwurm, ohne überhaupt ihre Musik zu spielen? Man macht es wie die Iren Overhead, The Albatros und zitiert einfach ein Textfragment aus "Echoes" mit seinem Bandnamen.

Doch zunächst einmal hieß es warten! Auf Festivals mit einer einzigen Bühne hat man natürlich mehr Pause als auf größeren Veranstaltungen. Viel Zeit, um zwischendurch zu schnacken, sich sein Regenponcho an und aus und wieder anzuziehen oder um eine Schale Pommes - oder wie ich Knauserer die Essensvorräte in meinem Auto - zu genießen. Wegen unterschiedlicher kleiner Probleme während der Umbaupausen hatte sich der Zeitplan bereits sichtbar nach hinten verschoben, als Overhead, The Albatros (Achtung, Pointe voraus!) den Vogel abschossen, da ihr Videoprojektor das Bild auf dem Kopf darstellte und niemand die Betriebssystemssprache Mandarin in um hundertachtzig Grad gedreht beherrschte. Als diese Hürde nach gefühlten Ewigkeiten mit mehreren Anläufen genommen war und die Show endlich losgehen konnte, zeigte sich aber auch schnell, dass es eine sehr schmerzhafte Entscheidung gewesen wäre, auf die bewegten Bilder im Hintergrund zu verzichten.

Denn auch wenn die überaus eigenständige Musik des Quartetts auch so hervorragend funktioniert hätte, war das Videomaterial doch exakt auf das Set abgestimmt und wertete die Performance deutlich zusätzlich auf.

Am Merchtisch kaufte ich mir später wegen Vinyl und Cover eine Zusammenstellung älterer EPs, die noch eher einer klassischen Post Rock-Ästhetik entspricht, doch ich bin mir ziemlich sicher, dass live nichts davon, sondern nur das komplette 2024er Album "I Leave You This" von Anfang bis Ende durchgespielt wurde. Und so gab es eine unberechenbare Tour de Force durch cineastische, schwebend schöne Stimmungen, komplexe Rhythmen, Samples, Spoken Words, aber auch ganz abgefahrene Ausflüge in andere elektronische Genres inklusive der eskapistischen Dancehallmusik eines Paralleluniversums ein paar Dimensionstore weiter von unserem. Ähnlich wie Bruit ≤, an deren Drummer ich während der Show häufiger denken musste, vollkommen grandios, verrückt ambitioniert, aber immer auch irgendwie menschlich sehr dicht am Hörer dran.

Auch wenn dieser Auftritt aus Sicht der Musiker selbst, die extra aus Irland gekommen waren und kaum eigenes Equipment dabei hatten - eine stressige Katasrophenabwehr gewesen sein soll - im Publikum kam nur die Kernbotschaft "This Is Like Love" an. Außergewöhnliche Musik für Herz und Hirn. Der Höhepunkt des Festivaltages!

Sollte ich diesen Bericht mit schlauen Empfehlungen für den Veranstalter abschließen? Gibt ja genügend Künstler, die er mal anchecken und nach ihren Spesen fragen könnte... Ex-Easter Island Head? Agusa? ... Aber nein, ich bin hier ja noch gar nicht fertig!

Es wäre wahrscheinlich besser gewesen, auf mein Smartphone zu hören, welches mit leerem Akku keinen Bock mehr hatte und komplett dicht machte. Aber es lag noch eine weitere, erneut ungeplant lange Pause vor mir, die durchzuhalten sich allerdings im Nachhinein weit weniger gelohnt hat.

Mit Albumcovern und T-Shirts zwischen Power Metal-Allerweltsware und Carpenter Brut-Ästhetik hatte ein Teil von mir schon gehofft, dass die Kieler Inner Axis eine so schlimme Überzeichnung aller Heavy Metal-Klischees zelebrieren würden, dass es schon wieder großartig sein könnte. Aber natürlich könnte es auch einfach nur durchschnittlicher Metal oder schlimmer sein. Naja, alles war möglich. Und da mein nächstes Open Air deutlich traditionsmetrallischer ausfallen wird, dachte ich mir, dass ich mich hier ja evtl. schon akklimatisieren könnte...

Zugegebenermaßen schienen Inner Axis für viele der noch verbliebenen Besucher als Abschluss inklusive Fistraising und Schlachtgesängen gut zu funktionieren. Vielleicht fehlten mir auch die Biere, welche diese intus hatten. Aber dieser Gesang... nee, nicht für mich. Nach dem Soundcheck beschwichtete ein Bandmitglied noch, dass der Frontmann noch nicht alles gegeben hätte. Aber dann ging es in der Show trotzdem wenig überzeugender weiter. Ich habe noch bis zum Beginn des zweiten Stücks durchgehalten, denn vielleicht hatte man ja einfach nur einen suboptimalen Song zum Beginn gewählt. Dann bin ich aber geflohen. 

Mich direkt nach Overhead, The Albatros zu verabschieden wäre definitiv eleganter gewesen. Aber das weiß man ja vorher nicht. Trotzdem war ich insgesamt nach diesem unterm Strich tollen Festivaltag sehr zufrieden!