Doomsday Festival 2013: The new beginning26/12/13
Once again, the Belgian technoscene had 2 excellent nights on the same day. This time, people had to choose between Kozzmozz and Doomsday Festival. Whether it was Kozzmozz with CLR label night or Doomsday Festival with their exquisite line up, both would be a good choice. The only difference between them was that Doomsday had 4 rooms in the event space Bouwcentrum Antwerpen Expo, with a lot of techno and house acts in 2 rooms, 1 bass room with drum and bass, dubstep and trap, and 1 crossover-room with a mix of different styles, and Kozzmozz would be in Gent, offering techno as they always do. Which party one would choose, was just a matter of preference of size. My choice tonight was Doomsday. Unlike the first edition past year, there was no hardcore room available, which was replaced by the crossover-room. The theme stayed the same: it was the start of a new beginning. And the formula obviously didn’t change as well: the people would get a night full with high quality electronic music, backed up by a tremendous visual experience. Although this year’s edition wasn’t sold out, there still was a lot of people to give the impression that the festival was packed and cosy. After arrival, the first room I entered was the main room, where the well-known residents of the Fuse, Deg & Pierre, were rocking the floor. As enormous as the stage was, the music mixed perfectly with the very nice video wall that was displaying visuals, played by the visual artist Dax Geyskens, commissioned by the visual company Konstruktiv. At the same moment Double U Jay & Redhead, trembled the techno room, hosted by 2 of Belgium’s finest techno organizations Liberty White & Hertz. The atmosphere in the room felt right, and it was only the beginning of the night. And of course the visuals over there were next-level, as Jean-Michel Verbeeck, the boss of Konstruktiv, took care of that all night long. The bass-room, hosted by Untitled! & Antwerp City Flow, really got a pleasing overdose of bass, served by Kahn. Meanwhile in the crossover-room, Perc played a live set, followed by the acid techno violence of Truss/MPIA3, who as usual delivered a delightful industrial set.
Again in the techno room, Portugal’s finest aka The Advent & Industrialyzer, were ruling over the people with their liveset, while Andhim took over the main room. But in the crossover-room O/V/R aka James Ruskin & Regis performed a live techno set, and at that moment, that was the hardest and the best set I heard until then. The act after them was Warp’s Mount Kimbie, who took the word live set to another level, because they used a guitar and drums and other stuff to play their music. If I should describe this in a few words, then goose bumps would be the correct term to use. In the main room Agoria presents Forms and in the techno room Luke Slater’s Planetary Assault System were giving the best of theirselves, ensuring the high quality label of the festival. Other perfomances honourable to mention were the ones of Len Faki, Ben Klock, Extrawelt, Tripped, Culprate, Friction, and the list goes on. It’s just impossible to talk about them all, but one thing is sure: in terms of quality, Doomsday Festival certainly can and will be a game changer for the Belgian electronic music lovers. It’s not very surprising that they have a nomination for Best Indoor Festival in Europe, and as ambitious as they seem to be, they really delivered a visual and musical experience one cannot forget quickly.
Written by Pumpie
Pics by Solovov PhotographyDoomsday Festival 2013: The new beginning,