Concert: Wild Birds & Peace Drums in Babylon, Berlin on 07.10. 
Posture has a major impact on how concentrated something is perceived. That is why the town sits during the reading from the Gospel. Wild Birds & Peace Drums make that night out of the cinema hall of Babylon in Berlin-Mitte a sacred space and smash the inventory. velvet on the walls and on the floor and the seats and the jacket of my seatmate is made of velvet. The Babylon am Rosa-Luxembourg-Platz is a cinema, in which the sound in the walls would sink, actually. Before and after the opening band much time left the room, the stage setup and the tools to reflect on it. A martial drums acting up right with two bass drums and a steel pan left to dominate the stage space framed by velvet curtains.
Mariam Wallentin and Andreas Werliik play on the publication of the new album "Rivers" their only concert in Germany. You will be supported by the Schola Cantorum Chamber Choir Reykjavík. The arrangements mums Hildur Guðnadóttir wrote and recorded the songs were in Iceland, according Wallentin nature was there one of the biggest influences on her songwriting. And as always, can we move on to the thread Björk - which in fact, collaborated on "Medulla" with that very chorus. All interested parties is "recommended.
The first two songs play Wallentin and Werliik still alone, then the chorus enters in a ceremonial gesture, the stage and launched into" at this point Wildbirds & Peacdrums' live interpretation of Björk's Human Behaviour Bleed Like There What No Other Flood ". Wallentin's voice and the other eight produce an incredibly impressive, the room-filling and defining the sound and are exploring the space between pop and classical choral writing. The choir members all have long, gray robes and a sun-shaped amulet around the Neck, which the row behind me very amused. Here, the whole concert, the whole production seems so fragile and yet so convinced, so violent and loud that you frozen in awe.
contrast to the albums, where to look is delicate sounds only their way into the room of the song live on stage, especially through an incredible presence. This is especially the presence of Mariam Wallentin (in a cape and blue, shiny leggings, bare feet): first, her voice, then her body. Both spent her so with every song that it is remarkable how they manage to two later additions to the stage. It refers to any rhythm, dance, increases in the beat and throws her arms toward the ceiling, so they can be open to the front and - palms up - to stretch from him. If she plays on the stage in blue light shimmering steel pan, then she does it with a peculiar care. Her voice holds it together sometimes only of drums and singing existing songs - she runs into every crevice and cranny of the song and sticks like honey. Phrases, lines of text are screwed repeated mantra-like, and in the air. "Do not make me slip and loose that feeling, a few seconds of immortality". At least for this one hour in a red cinema seats.
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