For its size The Big Chill is a wonderfully diverse festival, with all manner of adventurous music and multimedia events to discover and explore.
There were the usual minor problems to contend with - stinky toilets and a shower tailback longer than a Polish bread queue - but these were more than made up for by the eclectic range of sounds on offer.
Proceedings trundled into gear on Friday with the gentle soundscapes of King Crimson legend Robert Fripp on the Chill Stage. Bedecked in long black coat and playing some of the loveliest ambient music this side of Apollo-era Brian Eno, his three daily sets were certainly in keeping with the horizontal vibe - amazing what you can do with a guitar and a laptop.
A quick hop over to the relative darkness of the Sanctuary Tent - seemingly the epicentre for the more esoteric, soothing music - found The Collectors attracting a small crowd, but this mainly night-time retreat was never going to compete effectively against the blazing sunshine outside.
Backed by what looked like a composite of Super 8 holiday films, The Collectors stint sounds like an instrumental take on the Cocteau Twins with their own bass-driven electronic grooves punctuating the mix.
The Sanctuary's ambience is much more suited to the likes of Danish eight- piece collective Efterklang, who appear as the night draws in. Portraying a dense panoramic beauty - similar to Canadian post-rockers Godspeed! You Black Emperor - Efterklang's suborchestral electronic minimalism takes them to a different level, their astonishingly beautiful music providing a perfect foil for the filmic arthouse images that flicker over the backdrop.
If ever a band were destined to make soundtracks for imaginary movies, it'd be them.
Another of the Sanctuary's hidden gems emerges shortly afterwards, as the guitar-inflected electro sounds of Jerome Froese - who along with his father Edgar was part of German synth icons Tangerine Dream - fill the makeshift auditorium, at times ploughing a similar electronic furrow to fellow countryman and electronic wizard Ulrich Schnauss.
Over at the Chill Stage, a sizeable crowd gathered for the cinematic ambience and electro covers of AGK.
Their pared-down version of Duran Duran's Planet Earth draws an ironic, collective smile from those weaned on the 80s, as AGK engineer their own sequencers and flourishes into the mix - drawing inspiration from the decade widely described as fashion's black hole - but their take on the Nick Drake classic Black-Eyed Dog mixed with Kraftwerk's Neon Lights is one of the most sublime cuts you'll hear all year, and they're surely destined for bigger things.
As the sun hots up, Lunz's haunting arrangements and lush instrumentation provide the perfect accompaniment to an afternoon's wallowing.
Featuring Hans Joachim Roedelius (formerly of Cluster), Lunz's piano tinkering, strings and faint electronic sweeps create a strange but enormously seductive melancholy, and much of their set feels like being at some sort of quaint tea dance.
As the evening light begins to fade, the dazzling West Coast harmonies of The Earlies offer multiinstrumental pop at its finest, taking in piano, flute, cello and gorgeous swathes of ambient electronica to boot. Brian Wilson would undoubtedly love it.
The mood shifts considerably with Susanna and the Magical Orchestra, all crackles and drones, organic bursts of soft organ and Susanna Wallumr?d's magnificent elfin voice - imagine Bjork masquerading as an angel at a wake.
There was even time to indulge in some brilliant comedy from the zany slapstick of Men In Coats and the cutting political comment of Marcus Brigstocke, not to mention a relaxing massage in the Body & Soul area, a wildly imaginative nighttime arts trail, a great choice of organic and world food and the friendliest festival vibe around. You'd be a fool to miss out next year.
Velimir Pavle Ilic