Opulen
t Temple, Burning Man
Marc Vedo’s h
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omecoming
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it was my fi rst time clubbing, they gave
me a pill.
“It was a time when the progressive
trance sound was king and, sure enough,
two hours later I was in the middle of the
dancefl oor in love with the world. I was
reminded that I would be happy again.
“My friends say they created a monster,”
he chuckles, “because I was so into
retouching with that experience and
learning about electronic music, its
genres and sub-genres.” was the big name DJs, the big productions
His fi rst Burning Man experience came and the big crowds, and I wanted to guide
three years later, in 2001, and was that scene towards being good for the
something of an epiphany. community,” he explains.
“I camped with friends and was By 2002 Syd had set up his own
introduced to how these small tribes/ production company, Opel Productions,
communities — mostly Bay Area based — designed to be a fusion between the
created these dance camps to do their Burning Man scene and the commercial
thing,” remembers Syd. “It was club scene. The next year he started
something of a transition period for Opulent Temple and in a joint venture
Burning Man, when the sound camps were hooked up with the Infi nite Kaos tribe to
becoming a more prevalent experience. I bring a sound camp to Burning Man — the
was very inspired by the creativity.” Opulent Temple of Kaos. Sandra Collins,
Tipper and Josh Gabriel all played but Syd
Back home in San Fran, Syd began claims the Infi nite Kaos crew lived up to
volunteering for the Radiance parties, their name so in 2004 he went out on a
which were connected to the Burning Man limb to create his own vision — the
communities. Offering more than just Opulent Temple of Venus. Hybrid, D:Fuse
music, the parties also included midnight and Scumfrog tore it up and the Opulent
ceremonies, guided meditation or some Temple has since become the biggest
form of performance art. It appealed to sound camp on the playa showcasing a
Syd, who also began playing in their tight team of residents, friends and world-
chillout room. But in a parallel process he class DJ talent. and keel over sideways more than once.
was still having it large in the commercial First we check out the set-up at the
club scene and initially cut his promoter’s The Freaks Come Out Opulent Temple. Made to withstand the
teeth by throwing several big benefi t We set off across the playa on bicycles. fi ercest dust storm, the DJ booth is an
parties in association with Spundae. It’s the easiest way to get around — or ornate pod decorated with intricate metal
Ideally, he wanted to bring the two should be — but winds have left a downy work. It’s fl anked either side by giant
clubbing worlds together. patchwork quilt of dust on the ground and round screens suspended from similarly
“What I saw in the commercial club scene cycling is hard work. We grind to a halt detailed metal columns. Viewed together
as one piece — and with a little
imagination — the set-up looks like a
mutant insect, the screens its
outstretched wings and the DJ pod its full
round belly. Opposite is a raised platform
skirted with rope for an elevated rave
experience and we can’t wait to see it all
come to life later. But it’s at night that the freaks really
come out. By 9pm numbers are swelling at
Peddling out to the Burning Man effi gy, the Opulent Temple’s annual Sacred Dance
we cut across to the other side of the party, amassing into a swirling ocean of
playa, swing a right past a massive vase of outrageously colourful characters —
silver desert daisies and hit The Deep End, dancing ketchup and mustard bottles,
the day-time party equivalent to the tinfoil robots, furry animals, a human
Opulent Temple’s night-time rave. A scene torch, Indian squaws, day-glo cowboys,
straight from the Wild West, it boasts a corset and French knicker-wearing saloon
wooden saloon, casino-come-chillout girls and Christ-knows-what-else all lost
area and giant water tower, dancing in a sea of beats.
people dangling from it, naturally. Brit DJing brothers Ed and Tom Real fi re
The crowd is a mixture of fl esh and colours out waves of wonky tech and electro
— girls in bikinis; bare-chested blokes; six largess, US star The Scumfrog drops fi lthy
packs and tutus; hats, wigs and comedy skuzzy house and mash-up manipulator
shades and bright body paint; a girl Tim Healey blows the speakers apart with
observing the scene from the comfort of his trashed-out sound. Set in the middle
her motorised sofa with discoball of nowhere, the music is as cutting-edge
suspended overhead. As you do. as you’d fi nd in any London club. OT
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