Cabaret/D-K-A-G/AlterRed/Ctrl Alt Del
Yorkshire - 28-30 August 2015
seriously found its groove again this year. One of the best Infests
When I was a child living with my parents, every August we'd go on
holiday to a caravan park in Combe Haven on the Sussex coast, not far
from Hastings. I adored it. Although just the three of us we'd book a
six-berth caravan so we had plenty of room to spread out inside should
the weather outside be inclement – which it sometimes was.
One year, I vividly recall my mum asking me where I'd like to go on
holiday that year. “Hastings!”
I said meaning our usual caravan park.
“You don't have to go there every year. You can go somewhere else!” she
pointed out. But I wasn't dissuaded. Combe Haven caravan park it was -
So, deep within me, I have fond and vivid memories of holidaying in
August, with basic but sufficient accommodation, and my Sanyo 'Walkman'
providing a perfect soundtrack throughout.
Though the details change, some things remain constant in life.
2015: What a difference a couple of years makes.
This time in 2013 it looked like Infest had run its course. The
promoters had openly stated this possibility online, largely on account
of the potentially huge Alt-Fest – which was aiming for 20,000 ticket
sales (like that was ever going to happen) announcing the year before
that it would take place the same month. There's also Resistanz, a
3-day festival in Sheffield, covering some of the same ground as Infest
(albeit aimed more generally at club style acts) which, since it
appeared in 2011, has clearly eaten into some of the UK's already
relatively limited audience at Infest's expense.
Alt-Fest imploded in spectacular fashion before it could launch and,
just recently, Resistanz though has announced that it is going ahead in
2016. This still leaves Infest buffeted by the actions of those around
it, but remains firmly the longest UK alternative electronic fest
There was a time when it felt like the Infest crowd might be losing
their mojo. But if there was any doubt as to the enthusiasm of both the
festival organisers and/or the ticket buying public then this year's
event well and truly buried them.
Because it is crewed by volunteers, it's plain to see that those behind
the scenes are just as passionate as those in front of the stage. This
has always been tangible, creating a good-natured, friendly and
welcoming vibe – which is a major factor to attending for many, almost
irrespective of which bands are playing. This was my 14th festival of
the 17 to date. I do not automatically go every year (though I can
readily understand why some have) I go purely based on the line-up.
That it all takes place on the self-contained campus of the University
of Bradford really helps set it apart from other festivals. The
majority of attendees stay in the pretty decent student halls and so
are only ever a couple of minutes walk from all the action. Handy for
those fashion-conscious types who like to do lots of outfit changes
during the course of the weekend. (Not a concern for me, I hasten to
Despite there being no real major headline names this year, the fifteen
bands that were announced over the 3-days this year was a remarkably
clever and tempting combination. It's also testament to the strength
and inventiveness of the programming down all those years that so many,
myself included, have felt compelled to go as often as we have.
1: Friday 28th
Photos [L-R]: Ctrl Alt Del, D-K-A-G, Cocksure
I knew festival openers Ctrl
Alt Del from their single and video for Super Galactic Battle Attack.
The no-budget production values didn't
bother me, but I wasn't sure if these guys were serious about their
music. It was obvious though they didn't take themselves too seriously.
Turns out their manifesto is to ensure they and their audiences have
I wasn't overly taken by the single, so seeing them live caught me
off-guard. Yes, they may have been smiling, yes, they switched genre
for pretty much every song in their set, but they held my attention far
more than expected, coming across well. For me, they pulled off the
genre-hopping from, dnb, to dubstep, to chiptune, to industrial, etc.
etc. with ease. Only problem for me is I don't like some of the genres
they work in.
Still, they were better than expected and the ideal way to kick off the
opening Friday night. I especially liked the schizophrenic Dubstep
Ruins Everything that featured Jonathan Tetsuo of Petrol Bastard on
guest vocals. Then there was the Ultraviolence medley that very neatly
connected us back to the first ever Infest
in 1998 when Ultraviolence
were on the bill.
Ctrl Alt Del setlist: Super
Galactic Battle Attack, Management, Destroy
All Dance Floors, Dubstep Ruins Everything, It Ain't Never Enough, Down
and Down, Still Sexy and Hardcore (Ultraviolence medley) At the End of
caught at Slimelight last year supporting the extraordinary
Velvet Acid Christ.
Known as something of a Slimelight house band (on account of the band
containing two Slimelight DJs), their brand of dancefloor committed
beats was good of its kind but not what I'd usually listen to, either
at a club or on the sofa. Having said that, I've only ever hear them
live, so ought to give the recorded stuff a listen. Still, they came
across as more polished than when I last saw them, ably assisted by
some projected gritty visuals including a memorable band logo.
where things started to get really interesting. Cocksure
is Jason Novak of Acucrack/Acumen Nation, and scene stalwart Chris
Connelly of Revolting Cocks/Ministry fame and notoriety. Although I saw
Ministry plenty of times, I can't recall ever having seen RevCo (and so
it seemed for many I spoke with here). So Cocksure being on the bill –
on the first day no less – was definitely a draw, and one of the
reasons I chose to attend.
Acucrack having performed at Infest last year, I imagine there was a
backstage conversation this time last year between Novack and promoters
along the lines of Novack saying “I
have this new project you may be
Good though it is, I wasn't entirely bowled over by last years début
It seemed to lack either the genuine anger or total
conviction that its style was begging out for. Follow-up Corporate_Sting has
just been released on Metropolis, but have not
gotten around to listening to it yet. Like pretty much everyone else, I
was still keen to get down the front on the strength of their
respective back catalogues.
As a project, Cocksure contains many of what you might call typical
Connelly stylings – deliberately confrontational, rocking yet anti-rock
guitars, presentational (and lyrical) irreverence, (welcome) old-school
style synth work, and some trademark 'rapping' style vocals from
Connelly. The latter I know puts some off, but for me is entirely
logical and consistent with Connelly's performance persona. Hearing it
on the Infest stage for the first time felt entirely appropriate.
I know Connelly's career way more than I do Novaks, and Cocksure is a
natural progression of what has gone before but is clearly striving to
do something fresh as well. The results are sometimes hit and miss, but
by the time they went into (RevCo's) Beers, Steers And Queers pretty
much everyone on the dancefloor seemed perfectly happy.
Cocksure setlist: Skeemy
Gates, Silicon Suckas, Alpha Male Bling, Razor
Invader, Corporate_Sting, Guilt Speed and Carbon, Klusterfuck Kulture,
Assault on Cocksure 13, Hi Talez
Cattle Grind, Beers, Steers and Queers
Photos [L-R]: Empirion, AlterRed, Ethan Fawkes
Another name instrumental in getting my arse to Bradford this year were
Although they only ever released one album back in 1996, their
distinctive brand of 'hard' techno always appealed to me. My first
exposure to them was as support for Front242 at The Astoria on a Flag
Promotions bill back in the mid 90s, when their underground dance sound
knocked me out, me not being well-versed in such things. Their biggest
hit is undoubtedly Narcotic
Influence, which from decades of club
exposure, is familiar to those who don't even know the band (or indeed
the title of the track itself) – such is its familiarity.
Having seen them a couple of times since they returned to performing
live (coaxed out once more by Flag) when they supported Meat Beat
Manifesto at the Purple Turtle in London in 2011, I knew they should
deliver. But there are few guarantees in this game. I'd watched
Underworld at this years Glastonbury on TV and it was dull, boring and
dated. Empirion on the other hand did everything they needed to ensure
their pumping sound was as energising as ever. Perhaps closer to
Orbital than Underworld, this one hour set was a joy from start to
They may be down to a two-piece these days, Jamie Smart and Oz Morsley
(third member Bobby Glennie passed away in 2005) but deliver they most
certainly did. They rounded off a prodigious set with their extensive
remix of The Prodigy's Firestarter.
But for me it's tracks like the
penultimate, 11-minute Quark
that are everything that's great about
their sound. By the end of the first evening things had rapidly hotted
There's much to admire about AlterRed.
Resolutely inscribing their own
groove across a trilogy of concept albums no less, they've just
released their fourth entry into their canon. They've been on a UK tour
this year (more dates still to come kids – check local press) promoting
the new material, but still, for many, myself included, Infest provided
the first opportunity to sample it. If their performance here is
anything to go by then In The
Land Of The Blind is work to be
As soon as Mikey strode onto the stage you knew things were different.
With longer hair, close cropped beard he was now resolutely Rock-God
Dave Gahan circa 1997 than the slick-haired, pan-stick circus
ringmaster persona of the previous three albums. Gone too the physical
manifestation on stage of characters from the trilogy narrative. Things
unchanged: showmanship, quality performance, intricate songwriting. As
a start to day two I couldn't have asked for more.
Clearly very well-rehearsed, the band sounded tight and punchy. Jack
still providing cool bass work front right, with new live recruit
guitarist James acquitting himself well on the left. Mikey's intricate
style of composition and cerebral lyrics (for it is he who writes all
the material) is perhaps too unconventional, even on this scene, to be widely
embraced. But maybe this recent development in style can break them to
bigger audiences. I hope so, as he and his live band incarnation
deserve far wider recognition. Probably the best AlterRed performance
I've ever witnessed.
AlterRed setlist: I
Breathe You, Trepanning, Amphetamine Chic, Nothing
Less Than Violence, Predator, Unpopulism
Belgium is normally a reliable source of inspirational alternative
music, and the little-known Ethan
Fawkes continued that tradition.
Looking like a friendly troll, and accurately described by several as
resembling (comedian/musician) Bill Bailey, on the Infest website in
advance, Fawkes had little to distinguish himself. When he took to the
stage with another cloth-draped trestle table + laptop setup I remained
impassive if not altogether disheartened.
In the first prime example this year of what those programmers at
Infest are so deft at, this not only exceeded expectations but
warranted much closer scrutiny. Fawkes turns out an unusual, frequently
melodic, form of Techno Body Music, with elements of EBM, noise, punk,
metal... you name it. It helped that Fawkes chose not to remain rigidly
behind that trestle table. His forays to the front of stage giving all
the chance to see him sing, projecting a remarkably good voice, also
helped him stand out from the crowd. The most unlikely welcome surprise
of the weekend.
Ethan Fawkes setlist: All
Your Lies, Waive At Me, One Night, There's A
Place For You, I Feel Alright, untitled (special live break), Angry, It
Stays Nothing, War For Nothing, From The Chaos Night, Wanna Kill EDM
Pretty much every year Infest serves up an act that catches people
off-guard and impresses so much that they become the talk of the
year that was Legend. This year, Chant can
justifiably claim that honour. 'Tribal drums' was the phrase that
everyone kept repeating beforehand. When the crew started setting out
the band's instrumentation, it appeared likely that this was one rumour
that was going to live up to its pre-show buzz. Almost the entire width
of the stage was taken up with drums (and cymbals) of various shapes,
sizes including an oil drum. This looked very promising.
The brain spawn of one Bradley R. Bills, out of Austin, TX, USA, and
usually a three-piece live, here they were down to just two, not that
any of us noticed a shortfall in delivery or performance. Shrouded in
smoke and with white lights synchronized with the drumming this was as
appealing visually as it was sonically.
The compositions have breadth and depth, and plenty of creativity,
mixing grinding guitars, noise loop backing and lots, and lots of
drumming. The result is more thoughtful and original than you might
anticipate, meaning instead of things being simply a relentless barrage
of percussive strafing (which I feared it might be) this was more
nuanced and had more character than I might have guessed. This was a
charged-up pleasure to behold.
Chant setlist: Brave
New Apocalypse, Cycles, Adoration, Universal, All
The Same, Create To Destroy, Revolt, Point and Click, Blood + Peace
The only other time I'd seen L'Ame
Immortelle was when they played the
festival in London in 2002. I wasn't overly
impressed. Since then, Austrian Thomas Rainer has made a name for
himself with his other main project Nachtmahr, who played Infest in
2010. Whatever the truth of his politics, Rainer there's no
doubt deliberately courts controversy just to get attention.
L'Ame Immortelle is, however, a different proposition, replacing the
sturm and drang of Nachtmahr with grandiose darkwave. But there are
numerous other acts that do what he's trying to do far better than he
can, so I saw no reason spend any time on them. The only band in the
entire weekend I didn't bother going to watch.
I knew of German two-piece Klangstabil
but wasn't familiar with their
music. Which staggers me now that I've heard them live. As a rather
massive enthusiast of Daniel (Haujobb)
Myer, Klangstabil share many of
the same attributes and approaches to composition, and offer many
similar rewards, so it's surprising I hadn't been converted before now.
I so wanted to like them on account of them having such a cool-sounding
name ;-) (it translates as 'Sound Stable'). With their signature, white
out of black iron-clad fist circled by the phrase 'Direct Talkin
Lyrics' hanging behind, before they even walked on stage, they
projected a promising image as well.
Maurizio Blanco held position behind laptop and equipment, whilst lead
singer Boris May, stalked around the front of stage, performing bare
footed, continuously rubbing his bald head with his hand, which somehow
seemed to sum up their unconventional approach to what they themselves
playfully sometimes refer to as Klangpop. Tonight's set focused on
their more trademark experimental electronica that's overcast by the
long, dark shadow of industrial.
Opening with their remarkable single Shadowboy, The Awakening
clear from the outset that not only was this refusing to play by the
rules, but it was going to be an emotional journey. There's something
decidedly cinematic about their sound, where droning bass synths lay
the foundations to many tracks, while sweeping strings overlay and
anthemic (sometimes piano) melodies with big chord changes lead the
way. All carried through with May's powerfully emotive voice. Emphatic
to the point of desperation. This was glorious.
They finished their performance and brought their set full circle
which is like a parallel universe version of Shadowboy,
referencing the same main lyrical refrain. Emotional is
the word that I keep coming back to when I think of Klangstabil. For
me, a major highlight of this year's festival.
Klangstabil setlist: Shadowboy,
The Awakening, Pay With Friendship
(remix version), Math and Emotion (The Square Root of One), You May
Start, Push Yourself, Twisted Words, Love Has Too Much Audience, Math
and Emotion (The Square Root of Three remix), Schattentanz
Saturday headliners were Mind.In.A.Box. The band arrived in
the UK at
Manchester airport but their musical instruments got waylaid en-route.
So for a few, tense hours it seemed their very appearance at Infest
hung in the balance. Had someone from the Dreamweb pinched it, I
wondered. Perhaps to punish the band for unveiling the deceit of the
matrix? No. Thankfully, it was just some dodgy baggage handlers, and it
turned up so the band could play and we got a gig. Phew!
Stefan Poiss and his live team were really, really good but not
completely captivating on account of drawing heavily tonight on the
latest album - which didn't make much of an impression on me.
Nevertheless, I still admire Poiss's ability to rearrange his
compositions for a live band. This worked even better than when I first
saw them at the inaugural
E-tropolis Festival in Berlin in
Partly due to how the songs are arranged for the live instrumentation,
especially guitar, bass and live drums, some of the characteristics of
the (more overtly) electronic studio recordings are lost. As
Mind.In.A.Box is a project whose trance elements are a big part of what
appeals to me about them, with the live renditions of some songs even
touching on prog-rock territory at times (what!?), those elements I
usually enjoy are curtailed, and my enjoyment wanes at times. But,
thankfully, not too much so as to spoilt the overall impact.
Of course the major benefit of having such a properly 'live
instrumentation' approach is that this is visually very dynamic with
the full drum kit at the back, and the guitarist and bass player doing
their thing either side of Poiss front and centre, mainly focusing on
the synths and regular and treated vocals.
The six tracks from the current album aside, there were some classic
favourites too including the first two songs, Light & Dark
from the thrilling (and still my favourite) first album Lost Alone. Change in
particular remaining a euphoric and
infectious piece of writing once those higher rate BPMs kick in.
Mind.In.A.Box setlist: Travel
Guide, Synchronize, The Dream, Questions,
Change, Remember, Control, Certainty, Light & Dark, The Place,
Face It, Timelessness, Snippet 3, I Knew
Silent Pain, 8Bits Encore: UnforgivenWorld, Shakeup
The second day had finished on another high and the good-natured,
energised atmosphere was palpable. In the complete opposite of pretty
much every other year, as the festival was progressing I found myself
feeling more energetic, alert and up for it. Curiously, this was also
the year I was drinking the least on account of the aforementioned
illness and prescribed antibiotics. Strange!
The choice of DJs this year too was proving to be another big factor in
the pleasure levels. As one who never dances, I've never been a big
clubber and so has only ever taken a cursory interest in DJs. But, for
some reason, this year they were grabbing my attention. (I actually
high-fived DJ Skinny, aka David Crout of who, as Dreams Divide,
here last year, no less than two times.)
This, combined with higher than usual energy levels, meant I found
myself hanging around the edge of the dancefloor of the main hall after
all the bands had played, soaking up the tunes way more than usual, and
seeking out more DJs in the other rooms too. Though I did stop short of
joining any of the several aftershow parties that always happen in the
halls and nearby hotels.
Act 3: Sunday 30th
The third and final day of Infest always kicks off with the first band
due on stage around 4pm. This is a challenging slot for any act to
fill, largely on account of the Saturday night/Sunday morning partying
that happens every year, resulting in many serious hangovers, late
sleepers, etc. dsoaudio favourites Mechanical Cabaret had the honour
this year, even though they should have been higher up the bill. They
actually took to the stage at 4:15pm but allowing those extra few
minutes for the slow movers to arrive was sensible. And clearly
appreciated, as there was a impressive turn out.
Even putting my fondness for Mechanical Cabaret to one side, by
measure this was a superb performance. I spoke to several people later
in the day who had never seen them live or even heard them before
today. All were gushing with praise, citing them as something of a
personal discovery of the weekend. Starting an all-too-brief 35-minute
set with a beautiful, lilting piano intro before jumping into the
you had here, in 3 minutes the essence of Mechanical
Cabaret. Heart-felt, uncompromising, honest music and lyrics.
The increasingly infectious last single, I Lost My Friend To A Video
Game, was a smart early inclusion, its unforgettable
narrative, meaning even newbies could sing along towards the end of the
remains a pinnacle of any Mechanical Cabaret live show,
as does the melodic (and equally singalongable) See Her Smile. A
live outing for Sterilized
(from their recently re-issued 2002 début
album) closed these most wondrous proceedings.
I've seen Mechanical Cabaret literally dozens of times down the years.
This could quite possibly have been the best performance I've ever seen
them give. In part due to the performance, in part due to the setlist,
and in part due to the audience's reception – which was phenomenal. Roi
was on perfect form, and can be one of the best front men on the
circuit when he chooses to be. Today he along with his synth guru Steve
absolutely nailed it.
Mechanical Cabaret setlist: GBH
piano intro, GBH, I Lost My Friend To A
Video Game, KitKat, Disbehave, Why So Serious, Cheap n Nasty, See Her
Hailing from Germany, reADJUST
mix strong melodies with elements of EBM
and Dark Electro, to create a danceable signature sound that they call
Melodic Body Electro. So sayeth the Infest website in advance. All of
which ticks a fair few personal boxes, so being entirely unfamiliar
with this three-piece, I was curious to hear how they might deliver.
Walking synth basslines reminiscent of (but not a patch on) Leaether
Strip were welcome, as were bass drum sounds made on synths and, yes,
there were some decent lead melodies channelling (or is that apeing?)
Suicide Commando. The vocals I was less enamoured by. Whilst the first
few songs served up those various elements, I wasn't grabbed. And
following an explosive Mechanical Cabaret performance, this was a bit
drab in comparison. It would have worked been better had they been
ReADJUST setlist: Intro+My
Advice, Ego, Angst, Lazarus, Dead Whore, Supernatural Ability,
Only Silence Remains, Wahre Helden (special bersion with
The curiously-named BhamBhamHara
Under Glass Axel
Ermes – which was all I needed to know to ensure this was another major
draw this year. Though little-known in the UK, Girls Under Glass were
brilliant exponents of the industrial/crossover sound that the likes of
Die Krupps perfected. I
caught them live a couple of times
when they played in London and still never forget the impact of their
tight musicianship and powerful songwriting.
BhamBhamHara is a different proposition altogether but no less
impressive. Axel Ermes, known by musicians in the scene as something of
a go-to producer, has something of the Midas touch about him. Whatever
he turns his hands to is worthy of your attention. He's partnered by
Jan Bicker of electro industrial outfit Abscess. So this promised much.
Another UK début, they thankfully avoid the obviousness of much of what
they themselves call Progressive Body Music, opting to explore a more
cerebral, multi-layered take on the field. For my money, this is far
more complex and intellectual than such a label implies. And all the
better for it.
Another stand-out in this year's line-up and another example of one of
those Infest stealth bands that emerge seemingly out of no-where and
leave you unexpectedly impressed, and an act that probably sound better
still, or at least more detailed and distinctive, in their recorded
output than live. Will definitely investigate further to find out.
BhamBhamHara's setlist: Positiv, So Ne Schöne Welt, Wir Feiern, Ich Bin Ich, Your Eyes, Wir
Sind, Kreislauf, Nur für Euch
stepped in to replace Melotron who pulled out a few
weeks in the run up, and in doing so made their UK debut. Having last
seen Melotron way
back in 2001, and I was curious to hear what
they were like now. Still, the plus side of the unknown Syrian was I'd
get to see another act new to me. Their style being a club-friendly mix
of synthpop, trance and industrial made them a good choice to appear in
place of Melotron. Their song Supernova
featuring Alphaville's Marian Gold on vocals caught my attention. (I'm
a big Alphaville fan.)
I'd headed off before they got to their 80s medley that included
OMD's Enola Gay,
Depeche Mode's Everything
Counts, and Aha's Take On Me.
The last of which seemed to go down as heresy with those I spoke to
afterwards who had heard it.
Syrian setlist: Intro-Now
Is Forever, She Is The Dark, Cosmic Gate,
Space Overdrive, 80s Medley (Enola Gay, Everything Counts, Take On Me),
Orion Shall Rise, Close Your Eyes (Time To Die), Musika Atomika, Vega
Velocity, Hypercube, Supernova
It was thanks to his appearance at Infest in 2001 that I first
heard Eric von Wonterghem's Monolith
noise/techno/industrial/tribal/electronic project. Back then this style
of music was new to me and I was perplexed but entertained in equal
measure. I described the experience of hearing it as something “weird -
kinda like Fatboy Slim on cocaine and heroin speedballs”.
Opening with new track Bairagi,
Wonterghem's repetitive loops and beats
mixed on the fly produced a, yes, monolithic wall of sound, crushing
and yet hypnotic at the same time. It was one of the few times I've
been fortunate to find myself lost in a trance like state listening to
a noise outfit.
The fact that Wonterghem, chose a single image (of a serene feminine
budda-like face) to be projected behind him for his entire 45 -minute
set not only perfectly accompanied the sound, but proved this guy knows
that less is so often more. This time, I really got
actively seek them out in future. And check out those very cool song
Monolith setlist: Bairagi,
Amplitude, The Victim, Roadblock, Innergy,
Rotated, Monophobia, Terror Disco, Near Crash, Techno Buddha
Finally, day 3 and festival top of the billers Project Pitchfork took
to the stage. They had been due to play last year, but illness on the
part of front man Peter Spilles meant they had to pull out (with VNV
into the breach). In sending his apologies,
Spilles promised to fulfil their side of the bargain this year. So,
this was Spilles, staying true to his word – all credit to him.
The promoters were always keen to get PP to perform at Infest. When
they first approached Spilles some years back, he wasn't familiar with
the festival and declined the offer, but instead offered up his side
project Santa Hates You, who took to the stage in 2008. On
the back of that experience, Spilles said he was more than happy for
Project Pitchfork to perform at Infest - which they did in 2010.
(I've yet to find a single
artist that has anything but gushing praise for the way they are
treated by the Infest organisers and for the technical prowess of the
So for the many Project Pitchfork fans
waiting patiently, the band delivered. I've never really understood the
breadth of their appeal (coincidentally, this was also the view of
several friends here), but there's no denying they do what they do
well. A fulsome set, the better part of 2 hours, saw the dancefloor
filled wall to wall, whilst my own interest waxed and waned. I left
mid-set to catch up with friends, only to be drawn back by a couple of
songs in time for the last few which I really rather enjoyed.
Since they've been going for ages, it shouldn't come as too much of a
surprise that at least some of their stuff would click with me. So, it
was good to spend the final minutes of the live performances in the
thick of the crowd absorbing the vibe.
Like the night before, and in stark contrast to most years, come the
end of the live acts, I was wide awake, full of energy and buzzing. The
next 3 hours was spent in some great company, listening to some great
music (courtesy of those on-form DJs) and consuming virtually no
Infest seriously found its groove again this year. Delivering the type
of alternative festival I, and about 800 others, love. Unpredictable
and yet reliable. Adventurous but also satisfying. Never complacent,
constantly pushing the boundaries, testing its audience and yet
delivering in spades. In spite of the lack of major headline names,
this really turned out to be a classic - one of the best Infests ever. 9/10
It's a grey, rainy Monday morning. I'm on the train home and I have to
go back to the day job tomorrow. How very depressing. Still, the coming
weeks will be enlightened slightly by the rainbow effect of Infest, and
the announcement that Infest 2016 is already confirmed.
Fast forward to adulthood.
On reflection, I now realise I have found the same sense of family,
like-minded folk being togeher, and indelible enjoyable memories being
created each and every August when I 'holiday' in Bradford for Infest –
all accompanied by a near-prefect soundtrack.
My dad died more than a decade ago. My mum, sadly, died earlier this
year - making this year's outing and sense of belonging all the more
poignant and precious.
The End... for this year.
* Footnote: For the avoidance of
doubt, no other substances were
involved in the making of this feel-great weekend