Friday July 26

Picking the last remnants of the Gentse Feesten (a ten day event near from where I live) from between my teeth, I head towards the station on Friday at just after nine o'clock for the next stop: Cologne Hauptbahnhof. This time there is no ‘pistolé me uuflakke’ (a culinary specialty of Ghent) on the menu, but the eighteenth edition of one of the most convivial festivals the scene has ever known: Amphi. The festival was founded in 2005 in the amphitheatre – hence the name ‘Amphi’ – of Gelsenkirchen, and moved to the Tanzbrunnen in Cologne a year later. Since then, Cologne traditionally welcomes more than 12,500 fans of the better underground work during the third weekend – or the last one this year – of July.

In 2015, the works on the Staatenhaus meant that the festival was moved to the Lanxess Arena. Those who were there at the time will probably remember that this was a blessing in disguise, as a real storm swept over Cologne and the surrounding area that weekend. There was a lot of thunder and rain, but because most of the performances took place in this indoor location, the festival could simply take place. In 2016, Amphi returned to the beloved spot on the banks of the Rhine and has been staying there faithfully ever since. The Staatenhaus has not been used since then, but a ship that is moored at the entrance to the Tanzbrunnen was chosen as an alternative location. Some of the performances happen here, and experience has taught me that this setting provides a more intimate and relaxed atmosphere. Those who want to stay in the Tanzbrunnen itself can choose between one outdoor (main) stage, and one stage inside the Theatre.

I arrive at the Tanzbrunnen just in time to witness the seemingly endless line leading to the seventh edition of ‘Call The Ship To Port’. The organisers got the inspiration for this name from a song by Covenant and the concept is simple: on Friday the Amphi party kicks off with a number of performances taking place on a ship. This time the honours went to [x]-rx, Rabia Sorda and Combichrist. Tickets for this formula were sold out months in advance. At 8pm I waved the boat goodbye (after all, the best helmsmen stay ashore). Those who still wanted to be part of the opening atmosphere could find what they were looking for in the Theatre where from 10pm a sold-out DJ set was played by DJ Sven Friedrich (known from Zeraphine and Solar Fake) and DJs Jeanny and Elvis. DJ Honey, known from Welle:Erdball, couldn’t be part of the gig due to illness, but no worries, DJ MSTH has shown himself willing to replace DJ Honey. However, I decide to go to bed fairly early because I want to be as fresh as a daisy the next day.

Saturday July 27

Because of a heat wave in my hotel room during the night, I feel rather like a withered flower instead of a daisy on Saturday morning. I had promised to be at the Hauptbahnhof at 10:15 and since I had only fallen asleep around morning, there was no real time for breakfast at the hotel. It was a challenge to keep my promise and also show up in a decent condition. But hey, a delicious smoothie from the station counts as a worthy alternative for breakfast for me.

First activity of the day together with fellow editor Xavier Kruth and house photographer Luc Luyten: a photo of Belgians who have come to Cologne is taken in front of the Tanzbrunnen. Johan Depré took the initiative to do this to raise the issue of missing Belgian bands at Amphi with the organisers. This photo is also a tribute to Trudy Jennes, who worked as a volunteer at W-Fest, and who passed away very recently.

After entering the Tanzbrunnen, I first take a physical version of the program booklet to guide me through the weekend. For the first time, I also try out the app ‘Infield’. Here you can find all information about performances and signing sessions at a glance and indicate your favourites so that some sort of planning can be made.

We are just outside the festival grounds when we hear that the enthusiastic attendees are being welcomed and the German darkwave synthpop band Alienare is announced. This year, the duo celebrates its tenth anniversary, which will be celebrated on August 16 with the release of the album ‘Lumen’. With the invitations ‘Alle Hände hoch’ and ‘Move’, the group immediately sets the right mood. There certainly is a lot of moving and waving back and forth.

At 12:10 the members of the Croatian folk metal band Manntra enter the stage. Traditional music combined with heavy guitars and pounding drums provides the refreshing sound that this quintet produces. Songs like ‘Ori Ori’ and ‘Barren King’ pass by and are effortlessly appreciated by the already present audience. After a few songs I head towards the black market to search for possible bargains.

Schattenmann is the next group to make the main stage unsafe. The band from Nuremberg is placed in the category Neue Deutsche Härte. For those who haven't noticed yet, the next fifty minutes will be hard. That is immediately clear from the first notes. The singer explains the evolution the band has gone through by mentioning that they played in the Theatre in 2019, and are now programmed on the main stage thanks to the audience and their fans. Ironically enough, after those words they play the song ‘Menschenhasser’. Thanks guys, for the nice words. With songs such as ‘Licht an’ and ‘Generation Sex’, the group proves that they certainly deserve this place.

I had planned to trade in the healthy outdoor air and head to the Orbit Stage, better known as ‘the ship’. Bloody, Dead and Sexy were supposed to perform here at 13:45, but shortly before the performance we received the news that this performance was cancelled due to an accident during the set-up. I had really been looking forward to this German deathrock band that has been around for more than twenty years. Unfortunately, I cannot give a report of their planned performance, but I hope that the review of their latest album ‘Fade To Glitter’, that was released in 2022, can ease the pain (click here for the review).

However, I do not change my plans as I feel hungry / hangry. The catering on the boat is usually slightly better than in the Tanzbrunnen itself and I therefore allow myself a first moment of rest.

This means that I have skipped the performance of the Dutch-Swiss duo Blackbook. They were the first band on the stage of the Theatre today. I am nevertheless certain that their mix of new wave and synthpop would have appealed to me, but one cannot be everywhere at once, and has to set priorities.

The next band is Ost+Front. The gentlemen, wearing heavy make-up and/or masks, are no strangers to the Amphi audience. This time too, there is no escaping them. Pounding guitars are catapulted through the speakers right into the audience. And unfortunately that is not the only thing the audience can enjoy. I have already experienced performances by Ost+Front where fake blood was lavishly distributed over the first rows of attendees. Whether the gentlemen kept it dry this time, I cannot say. Enthusiasm guaranteed, but I prefer keep my distances and watch the show from a safe stretch.

A Projection flew in especially from Stockholm to provide the Orbit Stage with a touch of postpunk. Due to the rainy weather, I decide to attend only the first song. This has nothing to do with the performance of this trio, but I wanted to head to the Theatre where the German electrowave act Die Selektion was scheduled. Their unique combination of synth sounds and a trumpet ensured that the band’s first appearance at the festival did not go unnoticed and piqued my curiosity. I did not know the band, but I did notice that they were quite popular. The show took some time to take off, but their lyrics recited in German certainly helped make the people dance after a while.

The Mexican guys from Hocico (which is Spanish for snout) climb the main stage just after 4pm to set it ablaze with their dark electro. I can’t immediately say that I get excited about this act, but maybe I'm not trying hard enough. Duty calls and drives me back to the Orbit Stage where the Swedish post-punk band Principe Valiente is waiting for me. The duo has been around for almost twenty years now and knows how to incorporate new wave into their sound. Their performances are generally described as an excellent experience and this passage can also be placed in that list. The total sound appeals to me from the moment I enter the ship. I sit all the way at the back of the ship, so that I only hear the act and don’t see it, and I really like this experience. Three quarters of an hour later, their atmospheric sound leaves me with a real feel-good moment.

No synthpop from T.O.Y. for me, for I return to the main stage. There we welcome the gentlemen of Diary Of Dreams just after half past five. The band has been an established name in the darkwave scene since 1989. I have to admit that there was a period when I skipped the performances of these Germans because it was too much. After all, they appeared at almost every festival at that time or at least at the festivals I visited in that period. But now I can enjoy the band again. That’s fortunate, because singer Adrian Hates takes over the festival grounds from the first note with the song ‘Viva La Bestia’. ‘Menschfeind’ and ‘The Curse’ are also brought up and leave everyone with a satisfied feeling after the show. The setlist consisted of quite a lot of older work, but I didn’t hear anyone complain about that.

Since it has become a bit chilly in the meantime, a portion of coldwave from Minuit Machine doesn’t seem really necessary and I choose to ignore the Parisians and try to go to the Theatre for Agent Side Grinder. This band is usually placed under the big heading of electro, but their music has evolved over the years from postpunk to darkwave and perhaps even industrial, with the previously mentioned genres also always being heard. However, I find myself in a quite hangry state. Therefore, I decide to stop when I see the word Döner (where the longest line of people was waiting). This means that I experienced the entire performance of Diary of Dreams while standing in the line and Agent Side Grinder was left out.

A new focus emerges: the performance of Je T'aime on the Orbit Stage. No Peter Spilles for me, who will undoubtedly conquer many darkelectro hearts with his Projekt Pitchfork just after seven. I probably may incur the wrath of all Pitchfork fans if I say that I have never made it through a full performance of these Hamburgers. No Neuroticfish on the menu either, but I go looking for a seat to make myself comfortable for the band Je T'aime. The Olympic Games have clearly caused an exodus, since this band also comes from Paris. They describe themselves as a mix between postpunk and coldwave of the danceable kind. This relatively new group (founded in 2018) released the albums ‘Aggressive’ and ‘Passive’ in 2022, but there is no trace of a passive attitude during the performance. The trio gives the best of themselves and visibly enjoys it. I'm honestly glad the audience grew during the performance, because for me this is one of the best acts I saw and heard during the festival.

A glance at the program quickly makes it clear that I will stay on the ship for the last band of the day. The Neue Deutsche Härte of Eisbrecher and the dark electropop of Aesthetic Perfection can’t please me, unlike the gothic rock and postpunk band Then Comes Silence. Their bass guitarist was already on stage as a guest musician for Je T’aime. The three Swedes produce some sweat during their show in which a number of songs can be heard from their new album ‘Trickery’ (click here for the review by fellow editor Kurt Ingels). The glamorous voice of singer Alex Svenson effortlessly captivates the audience and sends us into the night with a big smile.

Sunday July 28

The choice of which performance to attend was made quite quickly on Saturday, but on Sunday it will be a puzzle to fit all the bands I would like to see into a schedule. Obligatory toilet visits or breaks to eat will have to be postponed as long as possible.

At 11:00 J:Dead appears on stage. Fans of Tyske Ludder will certainly recognize frontman Jay Taylor, since he has been the drummer of this German ebm band for more than ten years. With his act J:Dead he has been taking a slightly less hard path for the past five years. Synthpop that sticks between the ears could be a nice bonus to get the audience moving on the second day. Although most of them look well-rested, I still notice little movement at the beginning of the performance and this trend continues. Nevertheless, I think it is a successful opening act.

The cybergoths among the readers will probably have already experienced the phenomenon Industrial Dance Video Project live. This time the location is not the Rheinpark or the RTL studios, but the community was invited to dance in the Theatre at 12 o’clock. Everyone who wanted to, was kindly requested to show cyber dance moves so that they could be recorded for eternity. The concept does not really appeal to me because I rather prefer to be lazy than tired. After I have taken a look, I go to the main stage at 12.10 o’clock to catch a taste of gothic metal from the gentlemen of Soulbound. It is the first time that they appear at Amphi and their passage certainly will be remembered. I recognize the sound of Deathstars and Nine Inch Nails now and then, but still a unique sound is created in which gothic is mixed with nu metal. I – and the rest of the audience – certainly appreciate this. They released a new album this year, ‘obsYdian’, from which a number of songs were heard. More of this please!

After this I accidentally end up in the VIP club of the beach. For those who have not yet visited Amphi: no I did not suffer from sunstroke. You can find a beach on the side of the Tanzbrunnen with some nice beach chairs. Oswald Henke has also found this entrance (I have controlled myself and refrained from any form of idolatry). This location gives me the opportunity to catch up with, among others, our house photographer Luc. I give him my list of bands I want to see and send him on his way to provide photos of them. I really appreciate his obedience.

I stay outside and decide to throw myself completely into the horror punk of Europe’s most famous band in this genre: The Other. The men from Cologne are literally playing in their backyard, but still sing most of their songs in English. Punk’s not dead, and the proof is certainly provided here. The rousing tempo of the songs and the dark, very pure sounding voice of the singer, almost makes us forget that we are listening to lyrics that are inspired by horror literature and films. Titles like ‘She's Too Young To Be A Bloodsucker’ and ‘Dreaming Of The Devil’ leave little to the imagination. At the start of the song ‘Tarantula’, singer Rod Usher invites the punkheads to create a small mosh pit. Since the monster is completely out in me, I skip the performance of the dark rock band Auger on the Orbit Stage. I attend a few synth and future pop songs by Ruined Conflict in the Theatre. I did not know this American band, but as a big VNV Nation fan, I do appreciate them. The melancholic and danceable songs ensure that the hall is packed and the crowd is made to dance.

When I leave the Theatre, the first notes of Heldmaschine resound outside. As a lover of heavy guitar work, I am inclined to cheer on this band from Koblenz, but I decide to head towards the boat for Deus Ex Lumina. This Berlin solo project describes itself as modern dark ambient, which is the deciding factor for me to attend the first part of this performance. Mastermind Del Darkwave, who has already earned his stripes as a music producer and drummer in a postpunk band, is assisted by a female singer. During the second song, it becomes clear to me that the music is more in the direction of ebm and darkwave. To be honest, I lose my interest due to the musical support of the female singer, which is why I leave the ship earlier than planned.

It’s time for a hamburger. I immediately get a few of them when I see the German darkwave postpunk band Dark. This relatively young group appeared in 2020 and already managed to catch my attention then. So I enter the Theatre again, slightly prejudiced. The opening song ‘Nightmare’ immediately grabs me by the throat because of the deep, warm voice of the singer. The act is supported by several dancers, which does not immediately add value for me. During the third song, an accompanying singer emerges from the mist, but quickly dives back into it. I think it is advisable to warm up the voice a bit more. This suddenly makes me a little less enthusiastic about the act. Fortunately, she manages to recover during the last two songs and the band delivers a pleasing set.

The ebm sounds of Faderhead and Ultra Sunn are passing me by when I gracefully lay down on the grass with a Döner in my hand in the company of, among others, fellow editor Xavier. When I keep the illusion in my head that I can go on again, The Beauty Of Gemina is the next band that catches my attention. I dive into the Theatre to watch the Swiss, who have been active in the darkwave and dark rock scene for almost twenty years now. Any doubt is soon dispelled: the music is still real after all this time, and so is the hair of singer and founding member Michael Sele. I decide to sit down, which means that I no longer see the performance, but only hear it. However, this does not detract from the tight performance that the group is giving.

When an abundance of sunlight blinds me, I can hear Solar Fake from afar. I have chosen to go back to the ship to cheer on Girls Under Glass. I always find it difficult to place this band from Hamburg, who are almost as old as I am, in a specific genre. In their early years they were more of a gothic rock band, but soon elements of metal, industrial and darkwave were added. I do not find the performance particularly catchy and a bit too smooth, but the audience clearly disagrees with me. When I go outside on the deck after a few songs, Glass makes way for sunglasses and a nice Rhabarberschorle. I had intended to attend a part of the gig of Merciful Nuns, but I clearly start to feel tired. Unfortunately, no cheerfully swinging nipple flosses from the dancers of Blutengel either, but I stay on the ship for Henric de la Cour.

This is already the third time I’m at a concert of this guy, and he seems to get better and better every time. This Swede launched his eponymous debut album in 2011 and has managed to work his way up in the synth scene over the years. I have been following this project for years, and Henric does not disappoint this time either. After a few songs I see more and more people coming to the lower square or leaving their seats behind. After the song ‘Chasing Dark’ there is an immense applause and from that moment on the performance takes off like a high-speed train to only stop at the end of the show. It’s a shame if you didn’t see this performance.

Unfortunately, music is not the only thing that dominates Henric’s life. The artist suffers from cystic fibrosis, a genetic condition in which the mucus produced in the liver, lungs, digestive organs and reproductive organs is very viscous and therefore has difficulty finding its way out, possibly causing obstructions. The average life expectancy of these patients in Belgium is currently 49 years. Henric was born in 1974 and is therefore celebrating his fiftieth birthday this year. A calculation that makes us pause for a moment. De la Cour was followed for four years ten years ago by a film crew that recorded the evolution of his illness and how he experiences it. You can read more about this film via this link.

Peter Heppner is also one of my favourite artists. He is doing great with his solo career, but he is probably best known for the synthpop and electropop band Wolfsheim, which he quit twenty years ago. Heppner’s melancholic voice ensures that he knows how to captivate the audience time and again, and I’m told he did so again this time. Unfortunately, I only enter the Theatre during the last song of his project Heppners Tanzzwang. I experience dance versions of the hits ‘Die Flut’ and ‘Once In A Lifetime’.

I will have no electropop from And One, because it is now time for the dilemma of the day: Kirlian Camera or Goethes Erben? I already saw the latter at work this year in Waregem (click here to (re)live this experience), but still the urge to choose Oswald Henke and co. prevails. The Italians of Kirlian Camera, who have kept it cool in the synthpop and electrowave scene since 1980, are thus defeated by one of my favourite performers of all time.

Goethes Erben, founded in 1989, belongs to the Neue Deutsche Todeskunst, a genre that was very popular in the 90s, but with which most artists wanted to have as little to do as possible. The two best known members are Oswald Henke and Mindy Kumbalek. In 2007, Kumbalek left the project and it was put on hold. It was not until 2018 that Goethes Erben made its comeback. Since then, Henke has been accompanied live by a band with more or less the same members over the years. The content of their lyrics has not changed. Henke still writes about subjects that bother him on a social and political level and about the struggle that depression brings with it.

I manage to secure a spot right at the front of the first row. The view couldn’t be better. At 8:45 p.m. the first notes of ‘Märchenprinzen’ resound. The song ‘Zinnsoldaten’ is enhanced by a dancer dressed as a soldier who emerges from a wooden trunk like a jack-in-the-box. Anyone who has ever attended a full concert by the band will know that this is just a small example of how Goethes Erben always tries to incorporate their love of theatre into their performances. Traditionally, Loni, the doll that Oswald had as a child, is also there to dance during ‘Vermissster Traum’. The song ‘Lazarus’, which was created in response to the refugee crisis, also finds its way to Cologne. During the wonderful ‘Stadt der Träume’, the stage is bathed in a true spectrum of colours, giving the audience goosebumps. After the song ‘Sitz der Gnade’, based on Nick Cave’s ‘The Mercy Seat’, Henke, who showed himself throughout the whole performance as energetic as he used to be twenty years ago, says goodbye to the audience with the promise to see each other again ‘irgendwann, irgendwo’.

After the performance I leave the venue with the feeling as if I have just drunk a liter of blue slush and will soon enter the night with an overdose of sugar. The performance of Goethes Erben left a deep impression on me, which can also be said of the rest of the festival. Unfortunately it is already over, we say goodbye to friends, acquaintances and other sympathisers with only one sentence resonating: Amphi, verdammt ich lieb’ dich!

(c) Foto Luc - Who Cares - Luyten