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Deep In The Woods, day 1: Familiefestival with Boiler Room in the forest

For a sixth time, one can deep in the forests of the Ardennes to the festivalsummer to close definitively. The highlights of the opening night of the Deep In The Woods, the three-day to Lord’s: the portables, getting lost, Dijf Sanders, cheap Vedette out of a bottle, and a Boiler Room in the forest.

© Wouter Van Vaerenbergh

We stared into the barrel of a gun. By dusk we had not see him come. Still no m) high and was our enemy. “I am Rambo-o-o,” he shouted, and he pulled the trigger. “Paw!” The plastic toys made no noise, the pagaddertje provided the bang. We acted as if we mortally wounded were, and strompelden continue in the direction of the campsite. It was not the last kinderlach that we that night heard.

We were relieved that we were already in the car park had found it and were on our way to the campsite. Because for less than half an hour ago, we believed not that we the festival would find. Deep In The Woods promised a remote location, but domain Massembre turned out really in the lair of Pluto. The way to get there: narrow, winding roads through fields and small villages. Our car was dirty, but the tone was set. The charm of the small-scale familiefestival started to work.

Unpredictable

Standout tastes better from a bottle. Not only did Deep In The Woods, but the festival early and just two euros. It was a well-deserved all-Star: a reward for the brisk walk from the car park to the campsite. We drank while sitting in the grass. To the left of us: Dijf Sanders, so immediately the stage was. Behind us: a cosy farmhouse where tickets, food and beverages were sold. Right: a circle of children, up to eight years old, who in silence to the portables listened.

the portables © Wouter Van Vaerenbergh

The portables, which played, well, em… we know it is actually not so good. We heard successively krautrock contained by African percussion, hypnotic dub, eerie synths that did think of Mike Oldfields Tubular Bells – you know, The Exorcist, and drawn-out post-rock with vocals. And all of that in one number, The Undercurrent, their single of seventeen minutes long. The city band was elusive, what makes them fascinating, and at the same time, also explained why she after twenty years and nine albums, still not as a headliner booked were.

Dijf Sanders is equally unpredictable. Of his numerous guises, including the crazy popcountryband The Violent Husband and electroduo Teddiedrum, we received yesterday evening just Dijf to hear. Dijf turned out to be a adventurer, in search of intriguing electronics by means of rattling percussion, Aladdin-whistles, and scorching beats. It started to drip, but the temperature seemed only to rise. Dijf hiding behind a screen, his silhouette long and lean. The Gentenaar introduced himself as the figurehead of political correctness: “I am suis Dijf Dijf Sanders Sandèrs and et play joue my mon latest nouvel album album.” Moonlit Planetarium hot plate, and anyone who has something with Boards of Canada or Flying Lotus tries that for once.

Dijf Sanders © Wouter Van Vaerenbergh

Lost

We went on discovery. We were once deep in the woods, and by an unrealistic timetable could Chris Cohen not start on time. Five minutes we needed to be in the wooded nature reserve to get lost. Against the low-lit paths and countless distractions – a lit the dj booth on the lake! Projection screens! A giant climbing frame! Beer! – was our orientation, not up. Just seemed to be Deep In The Woods to change in The Cabin In The Woods, but Chris Cohen saved us from the emergency. With his music as a compass, we hurried us back to the main stage.

Chris Cohen © Wouter Van Vaerenbergh

Chris Cohen is probably the most resounding name of the weekend. The singer-songwriter has worked with Ariel Pink, Cass McCombs, and Deerhoof, and received support from tastemakers such as Pitchfork. Unfortunately, he played the least set of the evening. Cohens home is in Los Angeles, and that we heard in the sun-drenched gitaarwalmen, the laid-back drumming, and the sleepy vocals. By day had this is a nice set, but around midnight she had the audience no longer sense in relax. Who is not at the bar had to remain standing, stood in front of the stage to talk. Cohen seemed to be the lack of atmosphere to feel, and was still careless. It was waiting for Bon Voyage Organisation to the public to give what it wanted.

Bon Voyage Organisation © Wouter Van Vaerenbergh

Boiler Room In The Woods

Yacht-disco: closer come we can’t adequately describe the music of Bon Voyage Organisation. The Parisian foursome brought danceable, French eighties-kitsch with robotstemmen and Nile Rodgers-in June. There was no melody to paste, but the energy was contagious. Especially the drummer deserves a praise for his passionate game. For the first time, there was a significant mass of people in front of the stage, who afterwards, due to the Etang, the zijpodium to the water.

It turned out the Boiler Room In The Woods, where organizer Hendrick De Rycker turned like that after 2 hours would do: by YouTube clips after each other to play with Toto, The Opposites, you can then upload, Queens of The Stone Age and The Prodigy together in an amateurish mix followed. We felt our back eighteen, and with a campfire in the back we came to the opening night of the Deep In The Woods with a smile.

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