01/02 – 03/02, AALBORG DK
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Berlin’s Lucy Kruger & The Lost Boys craft atmospheric and intense art pop/alternative music. Led by South African-born Lucy Kruger, the band’s journey from acclaimed South African festivals to European recognition includes standout albums like ‘Sleeping Tapes for Some Girls’ and ‘Transit Tapes.’ Their latest release, ‘Heaving,’ showcases a blend of ethereal and raw sounds. Lucy Kruger, a vocalist and songwriter with collaborations ranging from ‘The Frank Popp Ensemble’ to ‘Swans,’ advocates gender equality in the music industry through initiatives like Keychange. Winners of the Europavox Spotlight Prize, they anticipate the April 2024 release of ‘A Human Home,’ exploring electronic sounds and drum loops in innovative live performances.
Emerging out of the Nordic experimental music scene, Fågelle is a wild collision of lyricalbeauty and unhinged, raw expression, where soundscapes, heaving with intricate detail,meet radically fragile and powerful vocals.
Her solo live shows move between quiet folkloristic singing passages and almost orchestralsound walls permeated by electronic disturbances. Songs building on a guitar riff, slowlydiving into dark obscurity. Rural Gothic and urban artificial light – moving in between thesepoles.On her upcoming album Den svenska vreden (The Swedish rage), with release date January27th 2023 she’s exploring feelings of isolation and rage in collage-like soundscapes madewith twisted field recordings, memories, trash, synthesizers, and choirs while movingbetween harmony and noise. Juxtaposing reveling songs and disruptive experiments toreflect the whole in all their facets.
Swoolish is a DJ act that has been part of Northern Winter Beat since the start – and 2024 marks his 10th anniversary with us! His collection consists largely of cool Jazz and Bossa Nova albums, but a musical evening with Swoolish would not be complete without boogie, boogaloo, tango, swing mambo, northern soul and r’n’b records for a festive afterparty. Catch him spinning records on his living room set-up Friday at Huset and Saturday at Studenterhuset.
We will kick off this year’s feast in music with a really special treat for you.
The award-winning musician Lars Greve will make Budolfi Church into a sound chamber, where clarinet and church organ will transform six large metal plates into loudspeakers. The audience is invited to move around or sit between the vibrating metal plates.
Lars Greve is known for his original, simple and virtuous music, and has collaborated with a number of Danish musicians and orchestras. Greve’s practice is diverse, and he founded the cultural institution ‘Resonerende Rum’ (Resonating Rooms), which for the last two years has been nominated for “concert experience of the year ”for the Danish Music Awards.
Hackedepicciotto (D) Is Alexander Hacke of Einstürzende Neubauten and partner Danielle De Picciotto. Stirring soundscapes blending acoustic instruments such as violin, hurdy-gurdy, and autoharp with rumbling bass, throat singing and electronic feedback. While the pair describe their music as “cinematic drone,” they incorporated postindustrial rhythms into their 2020 full-length The Current and the more expansive, symphonic 2021 release The Silver Thresholde.
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.
Ki!, the versatile artist known for his guitar prowess and production skills, presents “The Boy From Haeundae Beach.” Born in South Korea and raised in Denmark, Ki!’s debut double LP is a sonic journey spanning 20 tracks, paying homage to influences like Fela Kuti, Sharon Jones, and George Harrison.
From the groovy mix of Vietnamese Vong Co-style guitar in ‘Mây Trôi’ to the motown magic of ‘Happy,’ each track is a musical postcard from different destinations. The album is not just a collection of songs; it’s a carefully curated sonic travelogue, blending genres and styles from around the world.
Ki! invites you to embark on a holistic sonic adventure, where each track is a unique snapshot of his eclectic influences. Whether it’s a brief glimpse or an extended stay, “The Boy From Haeundae Beach” is a personal invitation to join Ki! on a musical exploration that transcends borders and genres. Welcome to the captivating soundscape of Ki!, where every note tells a story, and every beat is a step on an extraordinary journey. Bon voyage!
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 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, 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, 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.
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: 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.
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: 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 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.
Ashenspire is an experimental metal group formed in 2013 as a means of exploring the contradictions in herent in a contemporary capitalist world, tracing its roots from the empire-building of prior centuries to the neoliberal project of the modern world. The group presents challenging and abrasive musical textures (making use of sprechgesang, violin and saxophone extended techniques) in a progressive, post-black metal framework alongside incisive political critique of the historical basis and current state of postmodern life.
The band debuted in 2017 on Code666 records with Speak Not of the Laudanum Quandary, a critique of British Imperialism. In support of this they have performed with contemporaries A Forest of Stars, Ash Borer, Vampillia, Vulture Industries and CODE, amongst others. Its follow-up, the critically-acclaimed Hostile Architecture, was released in July 2022 and has featured on a great number of critics’ albums of the year lists. They have since toured in Germany and are due to make a number of European touring and festival appearances in 2023, including Denmark and the Netherlands.
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.
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.
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 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, 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.
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 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.
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.