CHRIS IMLER [DE]

Grand seigneur des Berliner Undergrounds, legend Chris Imler is a musical joker that will take you to a mix of electro-pop, garage-rock and the naïve.

Imler is a one man force, a music veteran, a jack-of-all-trades, a drum dandy, a beat prophet, and an unmatched player in the Berlin indie scene. He has generated rhythm for artists as diverse as the Golden Showers, Peaches, Jens Friebe, and, most recently, Oum Shatt, but most of all he is a one-man magician band.

HHY & THE MACUMBAS [PT]

Come horns and trumpets, come echo and percussion. The descent into the subterranean fields is easy. But to retrace your steps into heaven’s air: There is the trouble, there is the toil. 

Beheaded Totem, the second album by the enigmatic Portuguese ensemble HHY & The Macumbas, leads us straight into the damp caves of our minds. Their 2014 debut Throat Permission Cut was described as “a massive synapses bombardment in a short circuit between Glenn Branca and Adrian Sherwood,” and yes: HHY & The Macumbas have continued their march into the undiscover’d countries of psychoacoustics. Febrile, haunting and at times overwhelming, Beheaded Totem is nothing short of a dream for the necro-tourist. Cerebral and alluring. Toxic. Welcome to the four-dimensional meltdown.

BABY IN VAIN [DK]

Baby In Vain embarked on their musical journey by delving into distorted, doom-infused rock and roll. With their debut album, “More Nothing” (Partisan), the band extensively toured Europe and North America, including supporting acts like The Kills and A Place To Bury Strangers. Transitioning to their second album, “See Through” (Escho), the band embraced a warmer, simpler sound derived from dreamy pop, capturing the hypnotic joy of being a band where the myriad possibilities of two guitars and a drum kit materialize into a more eclectic, direct sound.

Since their last album, Lola Hammerich, Andrea Thuesen Johansen, and Benedicte Pierleoni-Nielsen have individually explored diverse musical constellations, collaborating with artists such as Mø, Snuggle, Ydegirl, Friends With Bene, Mavourneen, Fine, Selina Gin, and others. While being away is enriching, home is where the heart is, and their collaborative work and solo projects have provided fresh inspiration for their natural habitat, Baby In Vain.

On February 23, their third album, “Afterlife,” will be released, featuring singles like “Got It In You,” evoking shades of both Black Sabbath and Beck with its dark and enveloping string arrangements, and the shoegaze-infused ’90s romanticism of “I Hate Everything.”

CLAP YOUR HANDS SAY YEAH (PIANO SOLO) [US]

Clap Your Hands Say Yeah, a dynamic indie rock band, burst onto the scene with their self-titled debut album in 2005, gaining acclaim for their distinctive sound. Known for their infectious energy and frontman Alec Ounsworth’s unique vocals, the band has continued to evolve, delivering a mix of indie, post-punk, and pop influences. With a discography that showcases their musical versatility, Clap Your Hands Say Yeah remains a vibrant force in the indie music landscape, captivating audiences with their engaging performances and timeless appeal.

ASHENSPIRE [UK]

Ashenspire, an experimental metal group formed in 2013, explores contradictions in the contemporary capitalist world, tracing its roots from past empire-building to the neoliberal project. The band delivers challenging and abrasive musical textures within a progressive, post-black metal framework, incorporating sprechgesang, violin, and saxophone extended techniques. Debuting in 2017 with “Speak Not of the Laudanum Quandary” on Code666 records, a critique of British Imperialism, they’ve shared the stage with contemporaries like A Forest of Stars, Ash Borer, Vampillia, Vulture Industries, and CODE.

Their critically acclaimed follow-up, “Hostile Architecture” (released in July 2022), has garnered attention on critics’ year-end lists. The album delves into the return of fascism to mainstream politics, the widening wealth gap, and growing alienation. Recorded in 2020, it delivers a more explicit anti-capitalist message, drawing influence from Altar of Plagues’ harsh textures, Colin Stetson’s hypnotic saxophone, and Ed Scissor/Lamplighter’s bleak noir-hop soundscapes. Ashenspire leans into avant-garde jazz tendencies and metallic dissonance, channeling hardcore intensity in a deeply emotional burst of political rage. Catch them on their upcoming European tour and festival appearances in 2023, including Denmark and the Netherlands.

AVALANCHE KAITO [BE]

ANCESTRAL GRIOT EXPRESSION WITH POST PUNK ATTITUDE  

Avalanche Kaito (Glitterbeat) is a cutting-edge musical collective pushing the boundaries of genre. This diverse, globe-spanning group seamlessly blends rock, electronica, jazz, and avant-garde, creating an immersive sonic experience. Their live performances are a journey into uncharted territories, offering a rollercoaster of emotions and experimental exploration.

Kaito Winse: The guardian of the ancestral griot tradition, Kaito brings captivating vocal declamations and a deep cultural influence to the group.

Benjamin Chaval: A drummer and pure dataist, Chaval adds postmodern grooves and experimental rhythms to the mix.

Nico Gitto: An anarcho-electric guitarist, Gitto contributes to the band’s sonic innovation, creating a unique and unbridled sound.

Avalanche Kaito is not just a band; they are a force breaking new ground. Join them on a musical adventure that defies expectations and challenges conventions.

FÖLLAKZOID [CL]

Föllakzoid: Merging Ancient Andean Heritage with Contemporary Soundscapes

Originating from Santiago, Chile, Föllakzoid’s musical journey started a decade ago when childhood friends Domingae and Diego delved into a trance-like exploration. Rooted in Andean heritage, their sound seamlessly merges with contemporary technology.

Their fourth full-length album, ‘I,’ on Sacred Bones, represents a purifying evolution. Unlike previous records, it took three months to craft from over 60 separate stems, recorded in isolation. Renowned producer Atom TM then reshaped these stems without restrictions, resulting in four boundary-defying tracks.

Föllakzoid’s ‘I’ is a testament to their mission of challenging musical norms. Join them on a voyage where ancient and modern meet, redefining the musical narrative along the way.

CEL – FELIX KUBIN & HUBERT ZELMER [DE/PL]

Felix Kubin, a multifaceted artist known for retrofuture electronic dance music, radio dramas, and orchestral compositions, teams up with Hubert Zelmer, a classically trained drummer and composer. Together, they form the duo CEL, crafting a debut album under the expert guidance of producer Tobias Levin. The album showcases rhythmic cadences and electrostatic discharges with instruments like vibraphone, xylophone, and African percussion. The result is a harmonious blend of Zelmer’s precision and Kubin’s eccentric electronics, creating a sense of controlled restlessness throughout the album. Each track, despite its varying intensity, fits seamlessly into the overall composition, offering a methodical exploration of excess. 

HAYDEN PEDIGO [US]

Hayden Pedigo: Reshaping Acoustic Soundscapes

Hailing from Texas, Hayden Pedigo is a master of the acoustic guitar and a pioneer in soundscape composition. His musical journey, influenced by American primitive fingerpicking, Nick Drake, and experimental sound, has led to collaborations with renowned artists. Whether adopting playful online personas or crafting thought-provoking album art, Hayden’s creativity knows no bounds.

In his music, Hayden’s pristine soundscapes express a relentless pursuit of artistic perfection, as heard in his latest release, ‘The Happiest Times I Ever Ignored.’ This work represents a profound artistic journey, akin to “the dog chasing the mail truck – what do you do when you catch it?”

Hayden Pedigo’s sonic exploration transcends convention, blending tradition and innovation in his acoustic and soundscape compositions. Join him on his artistic voyage and witness a musician redefining the boundaries of sound and genre.

JULIE BYRNE [US]

Julie Byrne has moved through the world as a characteristically private artist largely outside the public eye. Her music becomes an immersive atmosphere summoning both the expansive and the intimate; the evocative songcraft transcends genre as it flows between her signature fingerpicked guitar and a palette of synth tones. It is the sound of resource, of friendship that was never without romance, of loyalty that burns from within like a heart on fire, and the life force summoned in unrepeatable moments — raw, gorgeous, and wild.

DEERHOOF [US]

The San Fransico band has been a lighthouse on the indie-rock scene since it was formed in 1994. Over the years and twenty some albums later they have been labelled everything from indie-pop to noise and punk. 

“Miracle-Level,” Deerhoof’s 19th LP, is a captivating musical journey that seamlessly blends whimsicality with energetic accessibility. This album, entirely sung in Satomi Matsuzaki’s native Japanese, was recorded with minimal overdubs, resulting in a confident set of tracks filled with small epiphanies. The band’s signature-controlled chaos, intricate melodies, and unpredictable song structures shine through, making “Miracle-Level” a testament to the power of anarchic creativity and the magic of music that transcends language barriers. 

ALABASTER DEPLUME [UK]

Gus Fairbairn, aka Alabaster DePlume, has a pocketful of phrases that he uses all the time whether he’s walking down the street or holding court with musicians and an audience. For a long time the Mancunian would tell anyone who’d listen that they were doing very well.  

More recently, it’s another phrase which has a similar effect and which belies his unwavering commitment to personal vulnerability and collective politics: “Don’t forget you’re precious.” A process that is people-first not product-first ensures that the music is unique; often gem-like. Alabaster DePlume’s songs are built on sonorous circular melodies and luminous tones that transmit calmness and generosity in warm waves – unless they’re raging against complacency and the everyday inhumanity of end times capitalism. Most importantly, he brings a valuable transparency to his work. “This is what I’m really doing,” he says. “I want to talk about why I’m doing this, and how I’m doing this. 

MARY OCHER [IL]

Experimental political pop artist Mary Ocher returns to European stages with an exceptional new record: “Approaching Singularity: Music for The End of Time”. 

The new recordings feature collaborations with Barry Burns (Mogwai), Red Axes, composer Roberto Cacciapaglia, pieces with her two drummers Your Government, and a homage to electronic music pioneer Delia Derbyshire. The album is accompanied by an essay on authoritarianism, unruly technology and the various political and ethical implications of the impending changes on humankind.  
 
Over the past decade and a half Mary has been persistently creating passionate, uncompromising work, raw, thought provoking, socially and creatively pushing against the current, dealing with subjects of authority, identity and conflict. Her work is as enchanting as it is polarizing, ranging from traditional folk to raw 60s garage, ambient with ethereal vocals and abstract synths, to experimental pop with African and South American rhythms when performing with her drummers (Your Government).  

MEMORIALS [UK]

MEMORIALS is Matthew Simms of legendary band Wire (+Better Corners, It Hugs Back, UUUU) and Verity Susman of Electrelane. The multi-instrumentalist duo cover plenty of ground on stage, juggling instruments in a set up resembling that of a 5-piece band, veering from melodic songwriting, psychedelic noise, free jazz freakouts, tape loops and drones….and then back again. Their debut double album “Music For Film: Tramps! & Women Against The Bomb” was released in 2023 via The state51 Conspiracy label.  

PETER KERNEL [CH]

Peter Kernel, a Swiss Canadian post-pop-art-punk duo formed in 2005 by Aris Bassetti and Barbara Lehnhoff (aka Camilla Sparksss), gained acclaim with their 2008 debut “How To Perform A Funeral.” With 800+ concerts blending pop, rock, and experimental sounds, they released notable albums like “White Death & Black Heart” (2011) and “Thrill Addict” (2015). In 2016, they scored “Il Nido,” and in 2017, launched “Peter Kernel & Their Wicked Orchestra.” Their acclaimed fourth album, “The Size Of The Night” (2018), marked them as important musicians. They contributed to projects like “La Strategia Dell’Acqua” (2018) and “L’Ombra Del Figlio” (2019). Celebrating their 15th anniversary in 2020, they released “Perseverance: 15 Years Of Peter Kernel,” a double LP with demos, b-sides, unreleased tracks, and live versions.

DRONGO [NO]

The Norwegian band Drongo have, with their fascination for wildlife, humoristic videos and riveting live performances, started to make a name for themselves in our neighbouring country.

The group draws clear inspiration from Norwegian legends as Casio Kids and Todd Terje. But they bring a bigger and more organic sound to the space disco/kraut rock/cosmic house (call it what you want) table, with band leader and drummer extraordinaire, Hans Uhre, directing the eight-headed creature forward.

Whether you prefer to own the dancefloor or bop your head with your hand clenched around a pint… You are in for a treat.

MARIAM THE BELIEVER [SE]

Mariam Wallentin has, for more than 15 years, composed and performed her experimental pop as one half of the duo Wildbirds & Peacedrums, and now solo as Mariam The Believer. She never shies away from challenging the listener, nor from creating the great melody.

You instantly recognise her vocal, that simultaneously possesses an unbelievable amount of strength and fragile beauty. This, combined with her compositional skills, has made her a sought-after collaborator for a schizophrenic variety of acts like the Swedish big band explosion ‘Fire! Orchestra’, Ben Frost, Deerhoof, St Vincent, Lykke Li and even Leonard Cohen. Just to name a few.

At Northern Winter Beat 24, you can expect to hear new music from her upcoming album ‘Breathing Techniques’. It is (from what we hear) going in a more orchestral direction. Think strings with a modern twist of keyboards and Mariam The Believer’s omnipresent rhythmic pop sensibilities.

CANTENAC DAGAR [FR]

With the “well-known” combination of human beatboxing, banjo, and a cassette player, the French duo Cantenac Dagar creates their rax mix of loop-based beats and drone repetitions.

To truly understand their music, you have to experience them live on stage. Music without a beginning, music without an end. Their concerts are described as a gigantic fire spreading across the old world. Music on high alert.

BACKXWASH [ZM/CA]

Backxwash aka Ashanti Mutinta is a Zambian-Canadian rapper & producer based in Montreal, Quebec. She is most noted for her 2020 Polaris Music Prize-winning album God Has Nothing To Do With This Leave Him Out Of It.

Her work is based in the horrorcore, hip-hop and industrial metal genres, and includes a culmination of themes around the intersection between faith, identity, and queerness. The poetry of her lyrics are the beginning of a cathartic healing process in which she is granting herself permission to be angry

In 2021 Backxwash released her 3rd album titled I LIE HERE BURIED WITH MY RINGS AND MY DRESSES. And she announced that it would be the second album in a trilogy. God Has Nothing was a study in mercy & forgiveness and provided some semblance of hope. Whereas I LIE HERE BURIED presents Backxwash finding solace in being completely consumed by her malevolent behaviors.

Her latest album HIS HAPPINESS SHALL COME FIRST EVEN THOUGH WE ARE SUFFERING (2022) is the final LP in the trilogy. It is entirely self-produced. It includes instrumental and vocal features by Morgan-Paige, Pupil Slicer, Michael Go, Censored Dialogue, Sadistik, and Ghais Guevara.

Her latest album I LIE HERE BURIED WITH MY RINGS AND MY DRESSES, features productions by Backxwash, clipping., Nowhere2Run. It also features by Censored Dialogue, Lauren Bousfield, Sad13, and Ada Rook.