Castle Party Festival is one of Central Europe's largest and most iconic dark independent music events, held annually in the hauntingly beautiful setting of Bolków Castle in Poland. Since its inception in 1994, the festival has become a haven for fans of gothic rock, industrial, darkwave, and related genres. Over four days, attendees immerse themselves in concerts from more than 40 bands across two stages, late-night DJ sets, gothic fashion shows, and thematic gatherings that celebrate alternative culture. The 2025 edition marked the festival's 31st anniversary (with 2020 skipped due to the pandemic) and unfolded from 10 to 13 July. While exact attendance figures for 2025 haven't been officially published, the festival typically draws several thousand fans each year, and this year's tickets were sold out across all tiers, suggesting a strong turnout. Castle Party, however, goes beyond music. It celebrates identity, community, and visual storytelling. Attendees arrived in breathtaking gothic ensembles, with the town's cobbled streets transformed into a catwalk of Victorian silhouettes, cyberpunk armour, steampunk finery, and dark fairytale chic. From dusk till dawn, the castle's ancient walls pulsed with energy. Fashion photographers mingled with artists and fans, capturing the unique blend of heritage and high drama that makes Castle Party not just a festival, but a pilgrimage. We meant to make that pilgrimage last year, but it didn't work out. This year, it did.
Thursday, 10 July:
We hit the road at 3:30, hoping to reach Bolków by 14:00. A touch optimistic, clearly. Despite only brief stops, we arrived at 16:30, having meandered through a stream of Czech villages. We got to admire nature, wonder at such huge churches in the middle of rather small towns, and complain about the lack of bars/taverns. Tomaz remarked that the Czechs, known for being admirable beer drinkers, probably buy their beer in stores and drink it in churches. By the way, Slovenian churches, although there is no shortage of them, look like chapels compared to Czech ones. In short, those 300 kilometres through the Czech villages dragged on like a snake. We were already pretty tired from the ride, but before the last 60-kilometre stage, we stopped on the outskirts of the Obscene Extreme festival venue and had a cold beer. Just before we arrived, a black cloud appeared above us. I jokingly said that it would start raining just as we parked in front of the campsite. And it really did. We ditched our tent plans and dashed off to Bolków Castle to sort out accreditations and hunt for accommodation. We found a potential room, but the price - €100 per night - didn't sit well. Offered €50. They countered with €75. We parted ways and settled into the campsite: €100 for four nights. At least it wasn't raining at the time. After setting up the tent (relatively quickly, I must say), we had a few snacks and a beer. We missed all of Thursday's events (four Polish bands/artists: Mona Polaski (post-punk/cold wave), Stygmatia (gothic rock/dark post-punk), Dead Tahiti (post-punk/cold wave) and Opowieść (ritual noise), Italian darkwave/post-punk band Estetica Noir and Spanish darkwave/post-punkers Darkways) at the only venue of the day, Park Stage. We'd hoped to at least catch Corpus Delicti, the French gothic rock legends closing out the night. But exhaustion won. A short walk through the nearby park sufficed, and we turned in early. Slept like babies. Didn't stir until nearly noon.
Friday, 11 July:
The day began late, but spirits were high and bodies (more or less) recovered. After a leisurely breakfast at the campsite, we strolled over to the nearby Hacjenda tavern - a special spot during the festival, known for its live elderly DJ who plays through the night. We stuck to coffee on the terrace and checked the weather, though we already knew what was coming: more rain. The streets, adorned with Gothic umbrellas - these prove useful in any weather - were growing livelier, signalling the start of the day's musical offerings.
The Park Stage kicked off with a quartet of Polish bands: Kryształ (post-punk/shoegaze/coldwave), Datûra (atmospheric post-metal/doom), Moonstone (atmospheric stoner/doom metal), and TOŃ (stoner/doom metal). They were followed by German gothic rock/metal act Scream Silence and Norwegian atmospheric doom rock/metal artist Sylvaine. Dutch artist Shireen closed the evening with her witch rock -night show. We didn't make it to the Park Stage - not for lack of interest, but because time didn't allow it. The distances between the camp and the venues formed a kind of time triangle, with each leg (camp to Castle Stage, Castle Stage to Park Stage, and Park Stage to camp) requiring a 10 to 15-minute walk.
The Castle Stage opened with Polish alternative electro pop/synth pop duo Red Emprez. Though little known to Terra Relicta - perhaps because its last album was released nearly a decade ago - it delivered a solid performance, switching between classic synthesiser and keytar. The band's sound, clearly inspired by Depeche Mode, Soft Cell and New Order, warmed up the otherwise not exactly massive audience.
Next up were trans folk metal compatriots Wandal, but we had to skip their set, along with the following three acts: Swiss NDH/industrial metal band Morgenstern, goth'n'roll band Hell Boulevard, and electro/industrial band Aesthetic Perfection. We had an interview scheduled with Franck Hueso, the driving force behind French darksynth/synthwave/retrowave project Carpenter Brut, and needed time to eat and sort out a few things beforehand.
We met Carpenter Brut's manager at the entrance to the castle tower and climbed upstairs to the backstage area. As we ascended, I couldn't help but wonder how people in the 13th century managed those stairs. Each step looked to be at least 35 centimetres high, and people back then were considerably shorter. They probably carefully considered every step, as well as whether it was even necessary to embark on this path. A delightful half hour of conversation with Franck flew by. We'd have loved to continue, but Carpenter Brut, one of the festival's headliners, needed to prepare for his performance on the Castle Stage, the last one that night. We made our way to the venue to await The Awakening. Just as the show began, the rain returned in full force, and hundreds of umbrellas bloomed.
"The South African-US band delivered one of Friday night's standout performances. Rarely seen in Europe, The Awakening, active since 1995 with 12 excellent albums, numerous EPs and compilations, had high expectations to meet, and they did not disappoint. Despite the rain, a large crowd gathered to welcome the charismatic and melancholic Ashton Nyte and his band. The set list promised 15 tracks spanning various albums and around 80 minutes of gothic rock/metal bliss. Five songs from the band's latest self-titled album sounded even better live, with 'Through The Veil' standing out. Other highlights included the ballad 'About You', the dark gothic rock gem 'Shadow Call', 'Nothing Like The Rain', 'Indian Summer Rain', and a stunning cover of Simon And Garfunkel's 'The Sound Of Silence'. They closed with 'The Dark Romantics', leaving the audience in a trance. It was a dark but lively performance, rich in atmosphere, melancholy, and plenty of melodic gothic rock and metal", Tomaz brings back memories.
By 23:30, the rain had stopped completely, setting the stage for Carpenter Brut's much-anticipated set.
"The very first notes from the synthesiser thrilled the crowd. Joined by guitarist Adrien Grousset and drummer Florent Marcadet, both from progressive metal band Hacride, Carpenter Brut delivered a unique blend of darksynth, synthwave, and retrowave, fused with a surprisingly heavy metal edge. The live set featured powerful renditions from the albums Leather Terror and Leather Teeth, with fan favourites like 'The Widow Maker', 'Day Stalker', 'Night Prowler', and 'Hairspray Hurricane' played with intensity. The highlight was their rendition of the iconic 80s track 'Maniac', which struck a chord with fans of Flashdance. The audience felt transported back to the 80s, making it a truly unforgettable experience. Although it would have been nice to hear 'Lipstick Masquerade' and 'Stabat Mater' as well, their absence didn't detract from the show. Vocals, delivered via playback due to the lack of a vocalist, fit seamlessly. The atmosphere was further elevated by stunning visuals and Franck Hueso's magnetic stage presence. Dressed in an Adidas sweatshirt, he frequently repositioned his artistically designed keyboard cart, occasionally left it behind to join the crowd's cheers, and helped warm up an otherwise chilly night", says Tomaz on the hour-and-a-half-long performance.
Still buzzing from the show and wide awake, we headed to the Park Stage for the after party with DJs Hades, Drgs_23, and Nowotny, scheduled from 1:00 to 4:00. But the excitement soon faded, especially since we're not the dancing type, so we called it a night.
Saturday, 12 July:
Saturday afternoon brought a welcome break from the rain, and at 14:00, we were set for an interview with the French post-punk/gothic rock band Soror Dolorosa at the Park Stage venue. The security guards at the entrance, however, refused to let us backstage—we couldn’t quite grasp why, as they spoke barely any English.
Just then, someone called out to Tomaz from a car that had pulled up nearby. It was Andy Julia, Soror Dolorosa's founding member and vocalist. In the passenger seat sat Hervé Carles, another founding member and bassist, while guitarist Dea Hydra (Luminance, Emptiness) lounged in the back. Dea had collaborated with the band before and now joined the duo for live performances. The band released its latest album, Mond, in October 2024, while earlier this year, two guitarists left the line-up - but you probably already knew that, at least if you’ve been keeping up with Terra Relicta dark music online magazine. Still, there’s plenty more to uncover once the interview goes live.
To avoid any further back-and-forth with security, the five of us headed to a nearby bar and settled in for a long, on-and-off-the-record conversation over coffee. Yeah, time flies in good company...
By then, Belgian gothic/synth-rock duo Lovelorn Dolls had already wrapped up their set at the Castle Stage. British gothic rock outfit The Last Decade had just begun, as had gothic electro band Valkyria from nearby Jelenia Góra on the Park Stage. We missed all of these performances, along with the USA-based The Sweet Kill (post-punk/darkwave), German gothic folk metallers Thanateros on the Castle Stage, and Polish act Rites Of Fall (electro/industrial/ambient) on the Park Stage. Instead, we opted for a late lunch/early dinner. Still, we made it back in time for the performance by Turkish artist Gözde Düzer, now based in Sweden, who musically expresses herself through her self-proclaimed hauntwave project Aux Animaux (darkwave/electro/ritual). Tomaz on Aux Animaux's performance: "Although the show experienced a slight delay due to some technical issues, it ultimately captivated us with a long and atmospheric ambient intro. Gözde presented a special ritualistic performance, which seamlessly transitioned into a selection of songs that made up a significant portion of the show. Initially, she performed while veiled, later revealing her distinctive outfit that combines elements of SM, gothic, and black metal aesthetics. Aux Animaux introduced at least four new songs slated for her upcoming album, including 'Void Moon', 'Redrum', 'Thrill Kill', and one that hasn't been released yet (dedicated to her toxic ex-husband, as she mentioned). The latter provided a particularly poignant moment and was a standout highlight of the evening. Overall, it was an interesting experience, although it felt like there was room for even greater impact. Gözde shared that she encountered some technical difficulties, which she felt might have affected the overall presentation. I also believe that a later time slot for her performance could have enhanced the mood and made her unique style resonate even more with the audience."
Aux Animaux handed the stage over to Polish electro-industrial band Martyrmachine. We, however, made our way to the Castle Stage to await Californian act Psyclon Nine, fronted by the charismatic darkman Nero Bellum. The band had arrived in Bolków during the first leg of its European tour (the second follows in early September), having released its latest album, And Then Oblivion, in March this year. Tomaz on Psyclon Nine's performance: "The band's brutal combination of industrial rock, gothic metal, deathcore, dark electro, ambient and trap was convincing from the very first moment. The only pity was that it was still light outside and raining heavily throughout the performance, so the audience resembled a sea of umbrellas - but that didn't faze Nero Bellum.
A sharp, compelling stage presence, excellent sound, and a well-chosen setlist made this, in my opinion, one of the best performances at this year's Castle Party. Nero Bellum frequently addressed the crowd, urging them to go wild - he even demanded a circle pit and similar antics, which are probably a bit foreign to the goth crowd. Women's screams could be heard more than once, though. Can you imagine a 'wall of death' in full goth attire? Probably not- unless it's in some kind of comedy. Anyway, the audience especially enjoyed 'Devil’s Work', 'Better Than Suicide', 'See You All In Hell', and - at the end, once the rain had stopped - things descended into glorious chaos with 'We The Fallen' and 'Parasitic'. Psyclon Nine played around 15 songs spanning all its albums, with no clear favourites. I'll say it again - excellent!” Let me add that my enthusiasm for the Psyclon Nine's show was no less than Tomaz's.
Just as Psyclon Nine wrapped up its set, Italian gothic rock/post-punk act Date At Midnight began performing on the Park Stage. We skipped it, as half an hour later - at 21:30 - the main stage welcomed Finnish melancholic doom metal icons Swallow The Sun, whose performances have always left a strong impression on us. This time was no exception. In fact, Tomaz found it even more powerful: "I have seen Swallow The Sun several times, but I had never experienced such a deeply melancholic performance. The show began as soon as darkness fell and was infused with a captivating blend of gothic and melancholic doom. The setlist was dominated by songs from their latest album, Shining, starting with the haunting 'Innocence Was Long Forgotten'. The audience was prepared for a sombre experience, with little to no illumination.
Among the highlights was the always mesmerising 'Stone Wings' from the album When A Shadow Is Forced Into The Light, which is considered one of the better gothic doom albums overall. The execution of the music was outstanding, perfectly harmonising with the emotional depth of their performance. The new songs from Shining sounded even better live. In addition to the aforementioned opening tracks, 'What I Have Become', 'Charcoal Sky', 'Under The Moon & Sun', and 'MelancHoly' also resonated beautifully. They mixed in a few classic hits, including 'New Moon' and even a track from their first album, The Morning Never Came, 'Swallow (Horror, Part 1)'. As with all other performances at Castle Stage, this one was characterised by excellent sound quality and impressive lighting effects. Overall, despite having to leave early and skip the last two songs to rush to another venue, Swallow The Sun's performance was incredibly good, mystical, gothic, and filled with a profound sadness that left the appreciative goth audience applauding loudly".
Then we almost ran to the Park Stage - we really didn't want to miss the performance of our last interviewees. Tomaz shares his impressions: "The atmosphere was electric as Soror Dolorosa, a band that certainly knows how to leave an impression, took to the Park Stage. Under a vast tent, anticipation filled the air for this French post-punk, gothic rock, and new wave powerhouse. With the dynamic Andy Julia leading the charge, the performance was a high-energy spectacle from start to finish. Kicking off the set with the bulk of its latest album, Mond, the band quickly enveloped the crowd in its distinctive sound. The selection included standout tracks from No More Heroes, such as 'Silver Square' and 'A Dead Yesterday', along with classics from its debut album, Blind Scenes, like 'Autumn Wounds' and 'Low End'. Surprisingly, the band's previous album, Apollo, was left out entirely, but the set still felt well-rounded and engaging. Julia, with his raw charisma, started in a leather jacket but soon shed it to deliver a passionate and emotionally charged performance. The energy surged as he sang, dance-like, connecting deeply with the audience. While bassist Hervé held his ground with a more static presence, the real standout moments came from guitarist Dea Hydra. His unique guitar work and onstage movements added layers to the performance, captivating fans throughout.
Despite a few minor slip-ups in singing, these imperfections only enhanced the authentic club vibe reminiscent of a gloomy gothic venue from the mid-80s. The use of artificial fog, although perhaps slightly overdone at times, combined with the atmospheric purple, red, green, and faint blue lights, created a visually striking scene, albeit one that occasionally obscured the stage. Sound quality was solid but not quite at the level typically expected from the Castle Stage, yet it didn't detract from the high spirits of the crowd. There was an undeniable energy as festival-goers danced along to the infectious rhythms, fully immersed in the performance. Overall, Soror Dolorosa delivered an unforgettable show that showcased not only its musical prowess but also its ability to create an engaging and memorable experience".
Soror Dolorosa's one-hour concert ended at 23.30, just in time for Myrkur to take the Castle Stage. We arrived there quite late, as we couldn't run anymore, at least not uphill, and we had a few snacks in between and a little chat with Rapha Hell (Extize, Basszilla), who had his DJ set on the Park Stage later that night. Of Myrkur's seventeen performed songs, we only got to hear four: "Leaves Of Yggdrasil", "Odins sang", "Ulvinde" and "Song To Hall Up High (Bathory cover)" - all excellently performed, as expected, but none from the artist's latest album Spine, which, except for "Menneskebarn", she sung in its entirety.
After the events at the castle had ended, we returned to the Park Stage in hopes of catching at least a glimpse of the repertoire from the British cinematic, melancholic folk-pop formation Nobody’s Wolf Child - even though, according to the schedule, their performance should have already finished. Either the band had started later or extended their set - whatever the case, we were lucky enough to witness the final act, and it was excellent. If I get another chance to see them live, I'll gladly take it.
We lingered at the venue for nearly an hour, accompanied by the sounds of the DJs, before we slowly – because we couldn't go fast – dragged ourselves to the tent and entered the Land of Nod.
Sunday, 13 July:
On Sunday, we headed backstage at the Castle Stage for our scheduled interview with Anja Huwe (singer of the former post-punk band Xmal Deutschland), right after the sound check around one in the afternoon. The sound check dragged on, and once it wrapped up, we searched for a suitable spot to talk. Rain poured down, and neither Anja nor we fancied climbing the controversial tower stairs, so we settled in a shed near the stage. It felt like a miniature museum, filled with old tools we barely glanced at - Anja was in a bit of a rush to reach her hotel, some 50 km away. As the final and main star of Sunday's musical line-up - and quite possibly the oldest performer at this year's Castle Party Festival, though she looked remarkably youthful - Anja shared plenty of intriguing insights, especially about what lies ahead in her musical journey, which she's rejoined after nearly 35 years. Stay tuned for the interview to learn more.
We skipped the Polish alternative electro-pop band Skinny, completely unknown to us, who opened the Castle Party Festival that day at 14:50, and went for lunch instead - delicious Polish cottage cheese pierogi at the guesthouse inside the camp. That's where we usually grabbed coffee, and where the friendly (and English-speaking!) caterers kindly charged our mobile phones for free.
At 16:00, the UK/Netherlands dark electro/glam goth project Dead Lights took to the big stage - and shone, just as the sun, which finally decided to spoil us a little. The duo, who only emerged on the music scene in 2020, performed in Poland for the first time, yet played with the confidence of seasoned veterans. Dead Lights has released two albums - Dead Lights (2021) and Glitterspit (2023) - plus one EP, Doom Doom Trash (2022). Given the strong promotion of their latest album and singles, I expected a larger crowd. Still, Dead Lights delivered a compelling set that spanned both albums and newer singles, with the then-unreleased "Break Out" standing out. Strong bass, buzzing magnetism, and percussive yet groovy mechanical rhythms - all wrapped in a British synth-pop and glam-goth vibe from the 80s, pulsing with urgency. The singer and drummer, dressed in black and silver glittery outfits, captivated the audience. The singer's glitter mask and walking stick added theatrical flair to their high-energy performance of dark electronic tracks with infectious rhythms. As the show neared its end, the venue began to fill, and the always-excellent sound of the main festival stage helped carry these dark industrial pop songs into the final stretch of the festival's last day.
Half an hour later, the French post-punk act Je T'Aime made a stunning impression. The Parisian band first gained attention with their 2018 single, "The Sound", introducing their now-recognisable sound - a moody, melodic fusion of post-punk and cold wave. And it was this fusion that the band brought to the Castle Stage in its finest form, utterly captivating the crowd. The performance was a feast for the eyes. dBoy's graceful movements were so mesmerising, it felt impossible to look away for even a moment, lest I miss one of his striking gestures.
Je T'Aime's set leaned heavily on their 2025 album, Useless Boy, alongside tracks from Passive and Aggressive (a two-part album set released in 2022), blending dark romance with energetic post-punk beats. "Unbroken Sleep" (captured also in a live video) stood out as a raw and hypnotic moment, with the crowd swaying in unison to its melancholic pulse. "Give Me More Kohl" and "Dirty Tricks" revealed the band's glam-punk edge, with dBoy's theatrical flair holding the audience spellbound. "Letter From Hell" closed the set with a dramatic crescendo, leaving fans in awe and craving more. Je T'Aime's blend of romantic despair and danceable darkness resonated deeply - it carved out a space of emotional intensity and stylish grit. Their performance wasn't merely music; it was one fabulous "je ne sais quoi" that I hope to experience again - someday soon would be great.
Je T'Aime handed the stage over to Belgian EBM/darkwave/synth pop duo Ultra Sunn, but we had to skip their set - as well as Polish dark pop artist Agnis' performance on the Park Stage - because we had an interview lined up with Antimatter's frontman, Mick Moss, at 18:15. We spent quite a while hunting for a suitable spot, since the security guard wouldn't let us backstage this time (different guards, different rules - sort of). Eventually, we found a quiet corner by the castle wall. Apparently, Antimatter enjoys quite a following in Poland (by the way, they'll be back on 9 October at RudeBoy Club in Bielsko-Biała, and three days later in Ljubljana, Slovenia - hopefully, we'll cross paths again). A few fans "interrupted" the interview, asking Mick for autographs and selfies.
After wrapping up, we grabbed something to eat and missed the sets by USA-based electro-industrial band Bornless Fire on the Park Stage and Norwegian gothic industrial metallers Gothminister on the main stage. We made it back to the Park Stage just in time for the start of the USA-based industrial/EBM/dark electro outfit Frontal Boundary's gig, but only caught the first three songs - Antimatter kicked off their set at 21:20 on the Castle Stage. Here's what Tomaz had to say about it: "Antimatter's show was a captivating experience from start to finish. The band has been on my radar for quite some time, and as a fan of their unique blend of art rock, gothic metal, doom, progressive rock and ambient trip-hop, I was excited to finally see them live. The band, originally formed in 1998 by Mick Moss and former Anathema bassist Duncan Patterson, has evolved over the years, especially after Duncan's departure in 2004. This concert showcased Mick Moss's vision as the driving force behind Antimatter.
The atmosphere was electric, amplified by their melancholic melodies and deeply insightful lyrics, which resonated with the audience. The performance opened with 'Existential', and although there were a few minor sound issues at the start, the overall sound quality improved quickly, allowing us to fully immerse ourselves in the music. The stage presence of the band was understated, but the emotional weight of their performance was anything but. Mick's subtle gestures, combined with the music's power, created a mesmerising experience. Throughout the hour-and-fifteen-minute set, the band played several standout tracks, including 'Stillborn Empires’', 'Freak Show', 'Monochrome', and 'Partners In Crime'. Each song left a distinct impression, blending emotional depth with atmospheric soundscapes. While I missed some of my personal favourites and their usual Pink Floyd cover, 'Welcome To The Machine', it didn't diminish my enjoyment of the concert. The lighting and visual effects were hypnotic, enhancing the overall atmosphere of the performance. The combination of sound and visuals created a poetic experience that I won't soon forget. This was a truly powerful and moving experience. In conclusion, if you ever have the opportunity to see Antimatter live, I wholeheartedly recommend it". I also really enjoyed the show, I would have enjoyed it even more if a midge hadn't gotten in my eye, and if they had played my favorite songs, "Redemption" and "Fold", which I already know won't play even in Ljubljana (or will they?).
While the Polish harsh electro/black metal band H.EXE began and wrapped up their set on the Park Stage, we eagerly awaited the return of musical comeback artist Anja Huwe at the main stage. Tomaz summed it up beautifully: "The atmosphere was electric as the iconic Anja Huwe took to the Castle Stage, closing out an unforgettable night. Renowned as the voice of the legendary post-punk band Xmal Deutschland, Huwe's return to the spotlight had been eagerly anticipated. With the first two Xmal Deutschland albums released under the cult label 4AD, her influence on the music scene remains undeniable. After the band split in 1990, she pursued a career in visual arts, though her passion for music never faded - culminating in the release of her solo album, Codes, last year. Joining her on keyboards was Mona Mur, whose influence played a key role in reigniting Anja's musical journey.
The stage radiated nostalgia and fresh creativity, and despite the packed crowd, Jerneja and I managed to inch our way to the front, keen to witness this cult figure live. Now 67, Huwe commanded the stage with a compelling performance, delivering six tracks from Codes, interspersed with 11 classics from her Xmal Deutschland days. The crowd's energy surged as she launched into iconic hits like 'Incubus Succubus', Orient', 'Augen-Blick', and a powerful rendition of 'Mondlicht', which rightly earned an encore. Anja's solo tracks, though perhaps less familiar, proved equally captivating. Standouts such as 'Sleep With One Eye Open', 'Living In The Forest', and the reflective 'Zwischenwelt' showcased her enduring talent and emotional depth. I did miss a few personal favourites from the Devils (1989) album, which she skipped entirely, but the overall performance left me feeling fulfilled.
Huwe's voice, no longer exuberantly youthful as in the 80s, has matured into something rich and mesmerising. Her dynamic stage presence, paired with an intriguing video projection and engaging light show, created a truly memorable experience. Fans naturally responded more enthusiastically to the nostalgic classics, but Anja's heartfelt delivery of both new and old material resonated deeply. She remains in full artistic glory, proving that the spirit of Xmal Deutschland lives on through her. Attending this performance was absolutely worth it, and I left with a renewed appreciation for Anja Huwe and her remarkable musical journey.”
And so this year's Castle Party Festival came to an end - well, almost. The Park Stage still had a Belarusian electro/experimental/industrial metal duo, Ambassador21, lined up, followed by the usual after-party with DJs, though neither tempted us. We were tired and hungry again, so we went for pizza near the Park Stage venue. I didn't really have a choice - actually, none at all - and "fell" for the Margherita pizza, or rather its sad impersonation. It resembled tomato soup in a bread cup, except the cup was flat. After that culinary misadventure, all that remained was a long, deep sleep.
Monday, 14 July:
On Monday, the day of departure, summer finally returned to Poland. The scorching sun woke me early, while Tomaz, clearly unaffected by the heat in the tent, remained sound asleep. I had breakfast and headed to the Hacjenda for coffee, as there were no more catering establishments in the camp. When I returned about an hour later, the number of tents had noticeably dwindled, and Tomaz had just stirred.
We took one last stroll through the city centre, which seemed to have resumed its usual rhythm. Back at the camp, we packed up the tent at a leisurely pace and tidied up after ourselves. Around two in the afternoon, we set off for home - choosing the path of least resistance, which meant abandoning our original plan to visit Prague. That plan hadn't been properly thought through, as it failed to account for the many extra hours of driving caused by the absence of a highway (still under construction) in the region.
Instead, we spent a few hours in Brno, the country's second-largest city. We'd already given up on navigation and managed to shave off an hour and a half from the Bolków-Brno route, only to lose that time again through extended stops, but at least we weren't driving. By the time we reached Brno, night had fallen. From the car park, a true Gothic beauty beckoned us towards Petrov Hill in the Brno-střed district. But first - beer.
In a cosy pub at the foot of the hill, we took the waitress's advice and ordered Starobrno beer. Its pleasant taste kept us company for a good half hour before we wandered down the cobbled road to the Gothic beauty: Cathedral of Saints Peter and Paul. Of all the churches I've seen - including the famed Notre-Dame de Paris - this one, with its sharp dreaminess, fascinated me the most. The nighttime and the golden glow of the surrounding lights most likely had something to do with it.
We circled the cathedral a few times - each lap revealing new details - before descending to the Vegetable Market to admire another beauty, a Baroque one: Parnassus Fountain (1695). It offered both visual delight and a touch of refreshment. We then drifted aimlessly through the cobbled streets, which remained surprisingly lively for a late Monday night. Around midnight, we resumed our journey, from then on, only via the highway.
Just after six in the morning, following a four-hour nap in a highway car park near Vienna, we arrived in Slovenia. Naturally, our first stop was coffee near Maribor. The weather looked glorious, so we spontaneously decided to spend the day on the Slovenian coast - though we mostly slept through it in the soothing shade on the beach. And in the evening, we found ourselves once again in the best company of Geronimo.
This time, I thought I'd round off the report with a few Pros and Cons of Castle Party Festival 2025:
Cons:
- Rainy and cold weather (well, no one can control that)
- Open umbrellas under the stage (not only do they pose a risk of injury, but they also obstruct the view; most European festivals ban them, and people opt for raincoats instead)
- Limited English language skills among staff
- No press room - or even a basic space to conduct interviews or charge devices; while the backstage might have served this purpose, security guards couldn't agree on who had access
Pros:
- Stunning location and the sheer fact that it's one of Central Europe's most iconic dark music events
- Solid lineup of bands
- Impressive sound quality for festival conditions (sincere congratulations to all involved)
- Respectful audience culture (no excessive chatter or distractions during performances)
- Generally pleasant atmosphere
- Reasonable prices
That's all - for now - with the hope that the Castle Party Festival tradition continues, not just preserved but evolving, and that I'll have the chance to attend more often. Ideally, in fine weather, and with a highway (or a teleporting machine) to whisk me there. Until the next report - cheers! Jerneja
Report by Jerneja (most of the gig reviews written by Tomaz)
Photos by Tomaz
Castle Party Festival links: Official website, Facebook
