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Northern Winter Read is our little concept, where you can explore some of the artists playing at the festival. Mikkel Brandt is in charge of the original interviews, made for our festival.


Maria W. Horn


Once again, Budolfi Cathedral will provide the setting for a very special performance at Northern Winter Beat. This time Maria W Horn will bring Mats Erlandsson, and together they will present an array of pieces for four-handed organ and electronics.

 by Mikkel Brandt


Take a listen to Maria W Horn’s latest record, and read our e-mail interview with her below.

(Maria W Horn – Epistasis:


How will you describe your musical universe and artistry?

“My compositions use minimalist structures to explore the inherent spectral properties of sound. As my background is in electroacoustic composition I often utilize analog synthetic sound or acoustic instruments paired with digital synthesis and processing techniques to achieve the results I’m looking for.”


When did you start making music?

“I started playing electric bass in punk and folk bands in my hometown. The feeling of playing in a band as a teen, that direct sincerity is something that I am probably trying to recreate in all of my projects, the dead-serious and naive ‘us against the world’s mentality, which was probably further enhanced by growing up in such a small town where even a small deviation from the norm would get you labeled as an outcast.

I signed up for an evening class in electroacoustic music composition at a local education center in my hometown Härnösand, I think I was 16 at the time, and electroacoustic music completely changed my musical thinking and opened up new realms for me in terms of how music could be made and how it could sound.

This path eventually led me to Stockholm to continue my studies at the Royal College of Music. During my time there I gravitated towards exploring harmonic and timbral aspects of slowly evolving music.“


Which compositional tools do you use?

“One of my main tools is the musical programming language SuperCollider, a compositional environment that provides precise control of timbre, tuning and texture. I am interested in designing my own systems for synthesis and processing from scratch, as it makes the feedback mechanism between myself and the resulting sound more intimate.

This is an ongoing practice that will never be finished, but I am trying to increase my understanding of how sound is generated in the digital domain, which in the long run makes it easier for me to create more personal sound worlds.“



How do you use algorithms in your work?

“In my work I often aim for the music to evoke a certain state of mind or to behave in a specific way. I write the code instructions with a certain idea in mind, execute the code and listen to the resulting sound, then adjust the code gradually to shape the resulting sound in accordance to my original idea.

So, this means there is a pendulum movement between listening to the sound output and changing the instructions of the algorithms that generate the sound. Since I use a lot of indeterminacy in my work the output from the code will never be exactly the same, and this in turn gives each piece the potential of endless variation.

Since I started using algorithmic processes my focus on the inherent spectral properties of sounds increased, along with a less linear conception of musical time.”


Which pieces will be presented at your concert at NWB?

“In this performance me and Mats Erlandsson will present an array of pieces using amplified and electronically treated organ in combination with fixed synthetically generated sound. In this way we aim to create a kind of hybrid instrument where the timbre of the organ and the acoustic properties of the room is spectrally enhanced and transformed, yet still anchored in the harmonic language associated with the body of music traditionally performed on the organ.“

(Maria W Horn – Konvektion:


The performance includes a live presentation of the piece “​Konvektion”. What were the main influences for that piece?

“The name Konvektion refers to molecules in movement or streams of air in a room. As the organ is a wind instrument this means that the massive streams of air vibrated by the pipes move through the room. By analogy this is matched by the duration of each chord in the piece being decided by the breathing tempo of each of the two organists required to play the piece. By counting their breathing as a way to determine the length of each chord, I wanted to connect the idea of external airstreams in a room with the internal airstreams moving through the lungs of the performers.

The harmonic structure of the piece is inspired by Arvo Pärt’s Tintinnabuli technique, where step-by-step diatonic movement interplay with triads to form a complex harmonic function still rooted in tonality. Simultaneously an electronic part composed of interference tones creates high and low register beating patterns and pulsations working as a sort of acoustic vertical frame to the organ sound itself.”

(Arvo Pärt – Da Pacem:


Can you describe the instrumentation and setup for the concert at NWB?

“In this setup I am processing the sounds of the organ using a feedback instrument built within the SuperCollider framework. In this way I can control several layers of sound, their pitch and amount of amplification and feedback. I think it is interesting to use controlled feedback in this way as it works as a kind of double exposure – harmonic resonances being superimposed on the space that formed them, resulting in an enhancement of the acoustic properties of the room.”


Can you tell us a bit about your collaboration with Mats Erlandsson? When did you start working together?

“We have been a couple since several years back and started collaborating on music in 2016 when we traveled to the Terres de L’Ebre region of Catalonia for a two-week residency where we decided to make a musical work based entirely on field recorded material from the region.

This was followed by a trip to Vardø, a municipality in Finnmark county in the extreme northeastern part of Norway, close to the Russian border. At the moment we are working with the recordings that we did in Vardø as a part of a commissioned work for the GRM that will be premiering in April 2022.

Our collaboration is shaped by the idea to work with what we have in our immediate surroundings, something that comes naturally at a residency or when working with specific places, landscapes, rooms. There’s a beauty in working with what you got at hand, rather than trying to construct the perfect setting, as these natural constraints can bring fourth interesting approaches and new ways of working – something that is especially useful in collaborations.”

(Maria W Horn & Mats Erlandsson – Stigsjö Kyrka:


How will you describe him as a musician?

“As a musician Mats is very precise and knowledgeable, with a great sensibility for details.

In his own music he knows what he wants and rarely sees any reason for compromise. At home he plays the guitar non stop, his virtuosity on that instrument is a bit of a hidden skill that I think influences his approach to synthesized sound a lot.

Thus far the repertoire of the organ shows have consisted of my compositions, but he always comes with great input in terms of arrangement and registration. I consider it a very intimate act to perform these four-handed pieces, it would not work with just anyone, so I am very glad to have him by my side.”

(Mats Erlandsson – Minnesmärke:


What are your individual roles during the concert?

“I am running all of the electronics and processing as well as playing the high register parts of the score and Mats plays the low register and most of the pedals.

Depending on the physical layout of the organ we either handle our register changes individually or help each other out to make each change in time. Neither of us has any formal training as organists although we both have a basic familiarity with keyboard based instruments from studying composition and a bit of piano. One of the premises for me to approach the organ was to base the work on my experience of working with sound synthesis and sound spatialization.”


How are you preparing for the concert?

“Preceding the performance we will have to tune the electronics to be in tune with the organ. This can be a tricky procedure depending on the room, as the pitch of the organ changes with the temperature. When we first get access to the performance space we mainly focus on two tasks – finding appropriate microphone placement to achieve an intimate amplification of the natural organ sound from an audience perspective at the correct volume without feedback, and figuring out the registration i.e. which combination of the pipe organ stops to use for each part of the performance. Due to the size and acoustic properties of the instruments themselves these tasks tend to affect each other to a large extent, which means the whole process requires a bit of time and patience to get right.”



Will there be any improvisation, and what is your approach to that?

“In most of the pieces the notation is kind of strict and does not involve improvisation in terms of what note is played and when, although there is one passage in the performance which contains room for improvisation within certain constraints. Since the performance already has so many variables that need to align in order for this setup to work, I did not feel like adding more. However, when it comes to the registration of each piece there is room to make some decisions on the fly.”


The concert will take place at Budolfi Cathedral. Do you have any specific sonic considerations about that, and how do you think the church room will influence the music?

“I am interested in using the sonic characteristics of a specific room as a starting point in composing music. I have used this approach for several pieces in the past, including an empty machine hall and a closed cell prison, and it’s always a bit of an archaeological excavation or acoustic sociological study. In this sense a space always carries with it an imprint of its history and if you just listen carefully you will hear it.

The pieces that we will perform at Budolfi Cathedral have been assembled in order to enhance the listening and bring forth the acoustic specificities of the organs and the acoustic environments they inhabit, while still being adaptable enough to function well in rooms with different acoustic properties.”


What is your relationship to church rooms? Both personal and as a musical space.

“Due to things that happened in my early upbringing Christian motifs and spaces are charged with a lot of emotion and ambivalence. As a child I spent a lot of time in Stigsjö Kyrka, the church located in the area where I grew up, and I have always been in awe about the glory that these rooms inhabit, the acoustics that imbue everything with a soft-spoken splendour.


Experience Maria W Horn at Northern Winter Beat 2023 January at Budolfi Cathedral.


Sturle Dagsland


Meet Sturle and Sjur Dagsland. Starting out as a solo project, the music of Sturle Dagsland has evolved into a collaborative journey on which Sturle and his brother Sjur both bring their creative forces into play. On January 29, they’ll bring their mind-bending musical outfit to Northern Winter Beat 2022.

by Mikkel Brandt

“We’re sort of both an artist, and a band, and a duo. So it’s a little bit of everything, I think,” Sturle Dagsland explains.

The two brothers, who are living in the city of Stavanger (Norway), are with me on a Zoom connection from their studio for a chat about their musical universe prior to their gig at NWB 2022.

“It’s not something we think about, but I think it just started with me making the music, so we just started to use my name. But then, after a while, it got more and more intertwined, so it became sort of a collaborative project altogether.”

Warp Magazine has categorized Sturle Dagsland as “one of the most interesting artists in the experimental music industry. A dream explorer who balance between avant-garde pop, psychedelia and electronic landscapes.”

Earlier this year, they released their self-titled debut album, and except for the fact that Sturle is doing all the singing (we’ll return to that later) and Sjur is doing the final mix, both of them are taking on very flexible creative roles in the making of their music.

“The process of what we do, and how we do it, can be quite fluid. And it’s different for each song, I think,” Sturle says and continues: “Sometimes there can be an overarching idea, of what you want to do, and how you want to do it, but at the same time, we’re always open to see where the idea goes, and if it goes in a different direction, then you have to follow that, and you have to see, where it takes you.”



Link to music.


The brothers describe how they see their creative process as a kind of adventure, where they’re constantly exploring different sounds and instruments:


“We’re always on the hunt for new sounds, both electric sounds and beats, but also acoustic instruments, that we find on flea markets and eBay. We’re constantly looking for new ways to explore to keep it fresh for ourselves and for the music,” Sturle tells me.


They show me a few examples from their instrument bank – including cow and goat horns (used as wind instruments), as well as different kinds of flutes, and a kora (a string instrument, which has its origin in West Africa). And for every listen, there should also be a good chance for your ears to catch something new, as their productions are often jam-packed with all sorts of sonic layers and textures, all frankensteined into soundscapes, which to me are both haunting, fascinating, and extremely beautiful.


“We try to have a lot of different feelings and emotions in the music. So it can go from a really emotional, sad affair into something funny, and then on to something else, maybe aggressive or frustrating. Just like life, you know. Or at least how I experience it,” Sturle says and describes how they put all sorts of different sounds into the mix:


“We listen to the song and ask, ‘ok, what’s good here?’ Maybe we need a lion, or maybe we need the sound of a whip, or a gun, or something. So, you know, whatever we find.”


Sjur: “Yeah, I think the lion was from the Berlin Zoo…”


Vocal globetrotter


When it comes to Sturle’s vocals, it’s, just like the rest of their musical language, not just a one-sided affair: 

“I’m mostly just self-taught. So it’s mainly about always exploring the voice and its different capabilities and always trying to go forward and learn new things.”


Sturle exemplifies how he uses numerous different vocal techniques:

“I use throat singing. It’s not my main thing, but I use it in the sound. I also go into metal and hardcore territory, as well as singing a lot of high-pitched vocals and melodies that are more traditionally beautiful in a way. I also use some stuff that sounds like rapping. I just try to explore the voice, and find what’s real to me and explore that in new ways.”


He demonstrates the different sounds and tells me how he also uses joiking, which originates from the Sámi tradition, and even techniques from opera:

“Every time I went home from school, I used to sing opera, and everybody would close their windows.”


Sturle Dagsland – Live concert, 2021


Imagination – life is your creation


When talking about performing, Sturle describes it as “the place I feel the freest.” And even from a young age, he has entered the stage in a quite spectacular manner:

“One of the first performances I ever did, was when I was 9 years old. It was in a talent competition, where I was dancing and singing to Aqua’s ‘Barbie Girl’ while simulating sex with a hand doll I had made. I was supposed to perform with a friend playing Ken, but he cancelled the day before,” Sturle recalls.


“I was wearing a mini skirt and my mom’s bra filled with candy, and at the end of the performance, I threw all my candy out to the audience and told them that I was my silicone. But yeah, I won the competition and was booked to do the same thing in a church.”


In fact, Aqua’s “Aquarium” was the first album, Sturle ever got.


Sjur: “I think it’s the album you have listened to the most.”


Sturle: “Yeah, and I remember at one point you tore the album in two because you were so tired of it.”


Sjur: “Yeah… I was more into René’s solos stuff,” he laughs.



Follow that cat!


When one has listened to the music of Sturle Dagsland, it’s not surprising to hear that Sturle and Sjur draw on a wide range of influences and inspirations, which they channel into their music.


Sturle: “Inspiration for me is so fluid. It can come from anywhere, I think. It’s not just music. We also love different kinds of music from all over the world, and I think our music reflects that as well. That we like a lot of different things from a lot of different cultures, both modern, more like pop music, but also folk music, rap, experimental music, sprechgesang. Whatever crosses our paths.”


For him, inspiration can come from anywhere – from music, films, experiences, nature, or places – or just meeting a cat on the street and following it around, which actually was the inspirational starting point for the song “Hulter Smulter”. 


Hulter Smulter


A choir of huskies


Since they started touring together about eight years ago, they have used their travels as an opportunity to record in all kinds of different places: They have found sounds on an old Soviet oceanographic ship, made field recordings of birds, and they have used the reverb from an old water reservoir in Berlin, as well as singing with dogs in Greenland:


“In Greenland, we recorded with a pack of husky-dogs. So Sjur set up a lot of different microphones in the middle of this sledge dog village, and I was singing with the dogs, and after a while, they started to respond to me. So, when I stopped singing, suddenly they stopped singing. The complete silence of 150 husky dogs. And I started again, doing more like throat singing, and more like really high-pitched vocals, and then they started to respond to that, and I sort of became the alpha in the pack, in a way.”


A snippet from that session can be found on their track “Noaidi”, but they say that it might also end up playing a more dominant role on one of the songs on the next album, which they hope to finish next year and release in 2023.


Sjur: “My own dog responded well to the song.”


Like a bird


When touring, they have received a very wide range of reactions to their live performances.


“People can have really strong reactions to the music. In both positive and negative ways, you know. Some can get really provoked and angry from our performances. I’ve been spit in the face after a show as well… But yeah, he had a swastika on his forehead, so I guess he had lots of problems in general. But usually, we get positive reactions of people getting really emotional during the show,” Sturle says and describes how there are elements in the music that seems to resonate deeply with audiences from different cultures:


“In Greenland, they also have traditions with throat singing, so we have got some strong reactions there, and also when we are in China and Japan, people who are in touch with older folk music there seem to feel the music a bit more primal in their bodies in a way,” Sturle says and continues:

“We have Sámi ancestry in our family as well, and I use joiking in the music, which comes from that tradition. When we perform for Sámi people, they sometimes come up to me afterwards, and even though I don’t have the same connection with the culture, as they do, some say, ‘I know you are a Sámi,’ because they can feel it in the music.”


Sturle remembers another episode in which an older shamanic woman came up to him after a show in Russia and started making sounds like a bird because she was so much into the music and perceived him as a kind of shaman as well:


“So I started to communicate with her in my own way, and we had like a good conversation and sort of connection there.”


But the spiritual effects can come in many ways.


“We played at a festival in Latvia, and there was this guy who had driven from Germany to see us. And he came to us, and said, that when we played Fusion Festival in Germany, we had completely changed his life,” Sturle recalls and describes how the guy was wearing his trousers on his head, like a turban:


“But besides that, he was completely naked, and he said, ‘and look at me now! You did this! This is your doing! I’m free… At last.”


Sturle’s reply: “Oh. Good.”


Experience Sturle Dagsland at Northern Winter Beat 2022 January 29 at 1000Fryd.


Maarja Nuut


Northern Winter Read: Maarja Nuut


Her musical journey is for sure an adventurous one, and on the way, she has created a musical universe with plenty of space for Estonian folk melodies, epic electronic soundscapes and mythical storytelling. Meet Maarja Nuut in the third issue of NWR.

by Mikkel Brandt


”I started to play the violin when I was seven years old. A few years before, I had already composed my first piece on the piano… For my rabbit.”


Maarja Nuut’s music doesn’t let itself define easily.


Drawing on inspiration from Estonian folk music she’s not afraid to bring its melodies and playing style into contexts which it has never been put in before. Both as a solo artist and during her continuous collaboration with the experimental electronic musician Ruum.


“What I do musically, is constantly changing and evolving. I do a lot of very different things at the same time.”


At this year’s Northern Winter Beat she will perform a solo set, in which her beautiful and transcendental compositions are brought to life by voice and violin together with various electronics.


Siidisulis linnukene


“With traditional music, we tend to think of it as something very holy, you know. That we need to keep it in a certain way. But I was more interested in finding out how this language works and how to reach an intuitive way of using it.”


Maarja Nuut has a background as a classical violinist, and even though she grew up in Estonia, it was not until her early 20s she started to give her own take on her home country’s traditional music.


She describes how she after a period of studying Indian music in New Delhi came back with fresh ears. And when she was introduced to archival recordings of Estonian folk musicians, playing traditional village music, she was instantly hooked.


“The sound world, that I discovered there, was really psychedelic and mysterious. In some ways, it can be compared to Indian music. It’s a musical language filled with rules, grammar, semantics, and so on. And maybe because I had been to India, my ears were so open to microtonality and all the small details. So I think, I had a different view.”


Parmupill: Ranna labajalg



This music had a huge impact on her. And even though the old recordings are nowhere near hi-fi and often are quite short (because the sound collectors didn’t want to waste too much recording wax), she was very fascinated by what she heard.


“I was interested in why it was sounding so captivating and so interesting, because this old music is rather minimal, and there’s a lot of repetition. But then at the same time, it’s constantly changing in details. It’s constantly evolving. So it’s, in a way, a kind of transcendental music.


Ehi, veli!


“It’s so full of details, I would say. Different players have their own style, their own character. You can really hear, especially with string instruments or with vocal, how much they play with their own voice. That they want to tell something.”


This musical discovery was followed by an intense period of studying the recordings closely.


“I knew, I could mime the recordings. And just always play exactly the same. But then it’s not living music. It’s sort of dead. It’s just copying someone’s moment from 100 years ago. But if you learn all the basic things, and if you’re lucky, you might one day be able to talk in your own way.”


Kiigel kartlik


“It took some time to get to the moment, where I got the satisfaction, that okay, I can now play all those little ornaments and thrills, the way I hear them, and then I asked yourself where to go next. Because I couldn’t just stay here playing exactly those twenty seconds the same way.”


Since then Maarja Nuut has taken the style to new places in her own compositions, and she has – among many other things – brought modular synth sounds, field recordings, and hypnotic vocal looping into the mix.


At the end of the interview, Maarja Nuut presented two of the songs, we can experience as part of her performance at Northern Winter Beat.


The first one is called “Haned kadunud” (meaning “Lost geese”). A rather macabre story originally passed on as a folk song.


“There are different versions of this story, and it’s very mysterious, in some ways. It’s about this young woman, who’s keeping some birds. Geese. But then a big wind comes and takes the birds away. So she goes home and asks her mother to bake some bread and make her hair nice, so she can go and look for the birds. But then, while she’s on her way, she meets all sorts of different creatures and people, hidden behind ordinary names. And in the end, she’s led to an old country house, and there’s a big party. There are food and drinks, and she’s asked to sit behind the table. And when she sits there, she realises that everything around her, the furniture, the drinks, the food, are all made from her own birds and that she’s actually ended up in the underworld.”


“Haned kadunud” / “Lost geese” (lyric excerpt):


“A seat of goose bones is brought to me

I am given goose meat to eat

I am given goose blood to drink”


“There are different interpretations, and if you read the story, it sounds like an average story. So what’s so interesting about those songs and stories is that you really need to know some context, and there are so many layers. Because those songs have been passed on for hundreds, hundreds, hundreds of years. So you read a simple story, but there’s actually something a very deep layer underneath it. And we don’t really know, what’s the moral of the story. Everyone can think of their own. Sometimes there’s no moral. Sometimes things just go bad and that’s it.”


Maarja Nuut & Ruum – Haned kadunud


Another song, Maarja presents, is “Kurb laulik” (meaning “Sad singer”).


“Kurb laulik” / “Sad singer”:

”He who hears me sing
Will think all is well
He will believe that my days are filled with joy

I sing through my sorrows
I sing through my mourning heart

Tears stream from my eyes to my chest
From my chest to my heart
From my heart to my knees
From my knees to my feet
From my feet to my toes
From my toes, they flow to the ground

Then the village herd will get to drink
The parish foals will get to drink
The manor horses will get to drink”


Maarja Nuut & Ruum – Kurb laulik- live session


Maarja Nuut is playing at Northern Winter Beat 2020 January 31st at Huset in Hasserisgade.


Jozef van Wissem

Northern Winter Read: Jozef van Wissem

With trance as a keystone, Jozef van Wissem is on an ongoing mission to prevent the lute from certain death. At Northern Winter Beat he will open the festival with a special concert in Budolfi Cathedral. We talked with him prior to his performance.

by Mikkel Brandt

“I wanted to take the lute out of the museum and bring it to the people.”


When Jozef van Wissem first picked up the lute, it didn’t seem like the average choice for a young punk musician. But Mr. van Wissem isn’t quite an average musician either.

”I got interested in lute music when I was about 14 years old because my guitar teacher gave me lute music to play on classical guitar.”


Now, four decades later, he surely has taken the lute to places it had never been before, and on the way he has made its tones flow into computer game music, dance shows and soundtracks – including Jim Jarmusch’s “Only Lovers Left Alive” from 2013.


All this wasn’t in the cards when he gave up the electric guitar in favour of studying this ancient string instrument.

“Back then lute was not hip or whatever, and in a broad opinion, it sort of had this ridiculous Robin Hood image made by Hollywood. Back then, you were the village fool.”


From the beginning, Jozef knew that he didn’t just want to maintain some preconceived legacy. So instead of sticking to the classical repertoire, he wanted to give it his own take.

“I wasn’t interested in interpreting the pieces in a purely historical way. So what I did was this very dada thing, where I wrote renaissance pieces out backwards. So that became my first compositions. They were called ‘Retrograde’, and they were basically just backwards versions of renaissance pieces. Everybody thought that was nuts.”

He explains that he still uses this mirror image technique. For example by reversing small baroque melodies and incorporate them into his compositions.

You Know That I Love You

In the late ‘80s and early ‘90s, Jozef ran a music bar in the Netherlands but says that he got sick of that life and moved to New York to start afresh.

“I lived like a monk after that because I needed to be alone and sort of reinventing myself,as he puts it.

Through an ad in the alternative New York paper “The Village Voice”, he got in touch with lute player – and also ex-guitarist – Patrick O’Brien, who’d been a former student of blues musician Blind Gary Davis.

“He was such a personality. And one of the first things he told me was that if I wanted to make a living out of playing the lute, I had to write my own pieces. That opened it up for me.”

This advice stood in sharp contrast to the strict approach he had met from his former teachers, where experimentation and improvisation were not well regarded.

“In the early 90’s I was very influenced by transcendental and experimental music. I was, for example, listening to Coil a lot. That influenced me more than anything.”

Virium Illarum

Soon Jozef van Wissem will be back with a new album named ”Ex Mortis”.

Those two words (meaning “from death”) are inscribed on the neck of his lute and refer to the renaissance of the Baroque Lute during the 1920s – led by the German Wandervogel movement ( A back-to-nature youth community who protested against industrialization by embracing activities such as countryside hiking and communing with nature in general.

Before that, the lute had almost disappeared for 200 years.

“I have a theory that it disappeared because it became too complicated. The makers were building bigger lutes with more strings and experimented with tunings. And I think it disappeared because it was just too difficult to study and play it. And I guess the piano took over. Also besides that, they are fragile instruments, so there aren’t many ancient copies left. They are all destroyed. But then it came back at the beginning of the 1900s in Germany during the Wandervogel movement. It was the beginning of the comeback.”

”Ex Mortis” is out February 7th and is thematically inspired by “The Booke of Gostlye Grace” by the German nun Mechthild of Hackeborn and her sisters.

The book was written in the 1290s and contains Mechthild’s visions and dialogue between herself and God – which Jozef describes as “an intensely religious, but also erotic relation.”

“It’s really beautiful, intense writing, often written in a trancelike form.”

This material lays the lyrical foundation of the album, which also features Thor Harris and Jarboe (both with a background in Michael Gira’s band Swans). And Nikolaj Komiagin of Shortparis, who played at last year’s Northern Winter Beat, sings on the first single from the album, “Cold Corpse”.

Cold Corpse

“Trance” is a central word in Jozef’s musical universe, and he explains that he likes to use repetition as a musical gateway to a trance state for both himself and the listeners. This can, for example, take form as small melodies or themes that are repeated over and over to gain a transcendental effect, where the sense of time is lost.

“The sound can be quite diverse, and I love to play the same pieces again and again, and hear how they sound different in different rooms. Sometimes I play on stages infuriated with a lot of smoke. It sort of becomes this metal thing. And there can be low-end feedback from the bass. Then it’s almost like a Sunn O))) show.

Backed by that quote, we’re not afraid to say that transcendental lute music never has sounded so interesting, as it does when Jozef van Wissem plucks the strings.

Experience Jozef van Wissem at Northern Winter Beat 2020, January 30th in Budolfi Cathedral.



Northern Winter Read: Efterklang


On their 5th studio album, “Altid Sammen”, Efterklang mixes new sonic discoveries with an unexpected lyrical turnaround. And after almost two decades of musical exploration, they seem more adventurous than ever. NWR had a chat with the band’s singer, Casper Clausen.

by Mikkel Brandt


When Efterklang kicks off their upcoming European tour at Northern Winter Beat 2020, the ever-curious trio is once again on to something unique. Not only does their new material include some of the barest arrangements the band has ever done, but it also introduces Danish lyrics for the first time in their career.


Singer Casper Clausen:

“For Efterklang, one of the most important ingredients has always been moving forward. That there’s always some kind of new challenge in what we do. There must be some excitement. Something we haven’t tried before.”


Under broen der ligger du


The band consists of Casper himself and his two childhood friends Mads Brauer and Rasmus Stolberg. And apart from a ton of musical collaborations – including scoring an opera with composer Karsten Fundal – they have recently joined forces with percussionist Tatu Rönkkö and mutated into the band Liima.


Not to forget their great contribution to the online radio The Lake or their hour-long sound piece for the toilets at Noma. (Link to sound piece)


Now they are back as Efterklang with their first studio album since 2013, “Altid Sammen”.


“When we came back to make music as Efterklang, we were turned on by the idea of scaling things down. We hadn’t tried that much before in the band. To scale the songs down to just a few instruments.”


The first sketches for the album were made in Casper’s studio in Lisbon, where he and Mads experimented with Baroque-inspired chord progressions, which eventually made their way into the album’s last track, “Hold mine hænder”.


Hold mine hænder


Casper mentions intuition as a central part of their creative process, and that he prefers to think as little as possible when he writes songs.

But how did Danish words begin to sneak into the lyrics?


“It’s not something that comes out of the blue. It’s something that has articulated over the years. I’ve been thinking that it might be interesting to sing in Danish at some point, and wondering what it might be like.”


In this process, he says that living in both Berlin and Lisbon has influenced him.


“I have spent most of my time during the last ten years living outside Denmark. So it has got a little ‘foreign’ somehow. But on the other hand, I can also feel at home there in a very special way. I think I needed to be in that place to look at the Danish language with new eyes. It felt like a whole new language to sing in.”


In relation to lyric writing, he mentions inspirations like C.V. Jørgensen and Michael Strunge.


He also tells that writing in his native language gave a sort of comfort, which allowed him to be “wrong in the right way.”


“In English, I can feel hampered by the fact that the language must be correct. So I have been very pleased with a sense of indifference, and that I can say things that I want because I feel completely confident that this isn’t what it’s about in this context. This has been a pleasure.”


Casper explains that both this approach to lyric writing as well as the idea of downscaling the songs have enabled new ways of working with the songs in the studio.


“There are still 40-50 musicians involved on the record. The difference is just that by scaling the songs down to something very simple, we could communicate more freely with the musicians.”


He explains that this open starting point – that these simpler songs represented – allowed the guest musicians (an extensive troop including the Icelandic choir Kliður and the Antwerp-based baroque band B.O.X) to contribute in a great extent, contrary to bigger pre-written arrangements with more defined roles for each instrument.


“It was possible for the musicians we invited to act more freely, and we could communicate in a more free way. It felt very new for us and ultimately created a barer musical universe.”


At Northern Winter Beat the band will present both old and new material and will be flanked on stage by Norwegian drummer and singer Øyunn and Christian Balvig on piano and synth.


“I think we’re in a pretty good place right now. And I think the new material has a different tranquillity than the earlier. So for us at the moment it’s also about cultivating that condition.”

Vi er uendelig

By the end of the interview I asked Casper to give his (from the top of his head) recommendations from this year’s festival lineup:


“I’m a huge fan of Kali Malone. I recently saw her live in the Netherlands, and I listen to her music a lot when I travel actually.”


Kali Malone live


“I also think that Iceage are fantastic. There’s a kind of danger in their universe. It doesn’t stand still. Things are vibrating. And Elias is just a wild frontman, and they just play tremendously well together.”

Catch It



“I’m a huge fan of Michael Gira’s band Swans and have seen them live many times. But I’ve never seen him solo. I would love to experience that.”


Efterklang will be playing at Northern Winter Beat 2020 January 31st.