A pleasure to find that my first visit to Warsaw coincided with a show by the highly innovative and talented Carla Bozulich. The Powiększenie is the place where folks like Brötzmann play when they hit town; indeed Sonore had just been there, and Ken Vandermark will return there soon with Paal Nilssen-Love. The upstairs bar was very cool but the performance space downstairs was kind of inhospitable, too long and narrow and on this night, bizarrely, seated. I grabbed a seat in the front row, which meant I had the pleasure of being in close proximity to Bozulich when she took a walk around the first few rows during the stunning “Baby That’s The Creeps”. In fact, she fell into my lap and pulled at my shirt, one of the many heartstopping moments that evening. Bozulich’s sound was driven by her extraordinary vocals, her aggressive approach to the guitar and by her group’s atmospheric cello and organ (the drums, I felt, were too lumpen and intrusive). I could have done without the occasional tedious dadaist tactics (bits of metal held up to the strings, a toy voice distortion box), but other than those, this was a hugely satisfying concert.