Primus.

Primus (originally formed in 1984), is an American rock band - currently made up of Les Claypool, guitarist Larry LaLonde and drummer Tim Alexander.

Chelsea Wolfe

Cult of Luna and Julie Christmas

Napalm Death

Hailing from the West Midlands, UK, Napalm Death helped establish the sound of grindcore in the late 80s, combining bludgeoning thrash/death metal with hardcore punk to create their uniquely brutal sonic assault, helping to influence the next generation of heavy music.

Alcest

This is the official Alcest Facebook profile.

Perturbator

LISTEN : https://perturbator.bfan.link/TAOW.yde
MERCH : http://perturbator.com
"The legend says he's half human, half synthesizer..." I make Dark and Retrofuturistic music inspired by the 80's.

High On Fire

High on Fire is a sludge metal group based out of Oakland, California, US. It was founded by the guitarist of Sleep, Matt Pike, and likewise features similar musical tones such as heavy use of drone, extreme distortion, lagging pace, and a mood reflective of stoner rock.

Nothing

People often wonder why Philadelphia's NOTHING are so damn loud. In the case of many artists, the volume stems from a preoccupation with negativity, misanthropy and the human condition, drawn from the band's own personal experiences. In the case of NOTHING, that volume, rather than a selling point, is the only way the band has been able to translate the difficulty of real-life into musical form.

Igorrr

Booking : luc@doomstarbookings.com & romain@thelinkprod.fr

Publishing : publishing@season-of-mist.com

Cult of Luna

Cult of Luna (formed in 1998) is a Swedish post/progressive metal band who achieved their big breakthrough in 2004 with their third album “Salvation” – hailing from Umeå, Sweden.

TTNG

Eivör

Konan sem syngur eins og fjöllin sjálf tali!

Mass of the Fermenting Dregs

Maruja

Artists in the truest sense of the word, Maruja’s ferocious combination of punk, harsh noise, and transcendent cosmic jazz is fast marking them out as one of the most exciting new acts in the country. The years spent relentlessly honing their craft are paying off in style, driven not just by passion but rather an all-consuming need to create and perform with a visceral intensity, they are both electrifying and terrifying.

Anyone who’s seen a Maruja show will know what drummer Jacob Hayes means when he talks about an atmosphere that’s “both feral and loving.” Maruja gigs are a spiritual experience – free-flow jams of uncategorisable music. Punk meets free jazz, with lyrics, rooted in rap, that are all about the message; vicious guitar loops, psychedelic bass, transcendent saxophone – and a voice, in Harry Wilkinson, that stretches from a Manchester version of Zack de la Rocha, to a call to prayer.

Their long-awaited debut album Pain to Power captures those moments in live performance when, as Jacob puts it, “things move to another level – the flow state”. The band compose in a unique way: their music is largely improvised, and they bring their personal feelings into every jam – so it was natural that contemporary politics bled into their songwriting. “Trump came in on 20 January, slap bang in the middle of our recording process,” says saxophonist Joe Carroll; and the band have followed the conflict in Gaza with grim attention, resulting in (as bassist Matt Buonaccorsi puts it) “that combination of heavy tragedy and hope. This is a tragedy that’s beyond horrific, it’s so oppressive that hope itself seems impossible to find.”

This cycle of tragedy and hope is there at the heart of Pain to Power. “It starts off brutal and turns into something powerful and expressive,” says lyricist, rapper and singer Harry. “We have to trust in that circle of life, and in our power to overcome pain.” The album follows the arc of a live show: an onslaught of energy, arriving at a place of transcendence, the music itself “rising from the ashes”.

Some of the most political music is the least prescriptive. At their heart, Maruja fight against an increasingly individualistic society. At the end of every show, Harry repeats the same mantra: “We wish you peace, prosperity and unity in these times of global oppression. Together we are stronger, please raise a fist for solidarity”. Everyone joins in, he adds.

Pain to Power was put together in an astonishingly short time – just two months, at the start of this year – and was produced by Samuel W Jones, already expert at giving Maruja records the feel of the crowd that wasn’t there.

The lead single Look Down On Us is a hair-raising critique of late-stage capitalism, morphing into a poignant meditation on the need for hope fuelled by plaintive sax.

The ferocious Bloodsport (“Complicit! Crossfire! No Vision! Live wire!”) was finished in just two hours. The song started with a guitar loop and a pounding drum roll, but the boys realised it had the same BPM as many of the records in their vast drum and bass collection: “so this is drum and bass through a punk filter.”

Harry almost raps, even talking about the record, his words coming in a rhythmic flow of energy. Maruja have always been acutely aware of mental health, and Bloodsport takes world events and examines their corrosive effect on the individual: “We're swallowing our fears till our kids are overdosing… I'm an addict addicted to my bad habits…”

“How does someone feel when they have no power?” Harry says. “All they want to do is find a little bit of dopamine to release them from the oppressive cloud that hangs over their head. All of these narratives coalesce into mental health crises. How are you going to pull yourself out of that? It takes courage to try and find inner peace, to recognise our own flaws…”

Pain to Power identifies the frustrated energy of a disengaged populace, and of people who want to protest but are finding it harder and harder in the current climate. On a recent American tour, the band spoke with fans who have taken to wearing balaclavas on peaceful demonstrations, afraid of arrest and deportation.

Maruja have a strong message of spirituality and talk about it with an understanding that recalls John Coltrane and other jazz giants of the past. It is a sentiment captured in Born To Die (“We are universal spirits and our kingdom is this earth,”) which whirls into a storm of cymbals and industrial feedback.

“Music itself is healing,” says Harry, “and we should help other people in a culture that is very repressed. The only spiritual things left in the world are music and love. Spirituality is ridiculed – people would rather believe in nihilism, which shows how disconnected we are.”

The tension of Pain to Power – the rage that informs those heavy opening songs – is repeatedly built up and broken by sonics reproducing the euphoria at the end of Maruja shows.

Zaytoun, with its vocal cries like seagulls, is a fully-improvised free-jazz piece, named after the Arabic word for olive tree: a symbol of peace and resilience with connection to the land that is deeply rooted in Palestinian culture. “That’s what our jams are,” says Joe. “Coming together to release this energy. We can’t do it by ourselves, so it symbolizes our unity.”

Saoirse, meaning ‘freedom’, and inspired by the band’s own Celtic roots, is a showcase for sax and strings. This remarkable track looks at the ties between Ireland and Palestine, epitomised in the Irish protest slogan “Saoirse don Phalaistin”. Among his grandfather’s possessions in Sligo, Joe found a decades-old comic strip depicting a “Black and Tan” Irish soldier boarding a boat to Palestine. Lyrically the song speaks to the power of unity to combat division with frontman Harry Wilkinson’s deeply moving mantra: 'It’s our differences that make us beautiful’.

The exquisite nine-minute opus Reconcile, with an entrancing polyphonic interlude and a story all of its own in the drums, is about embracing love, being at peace with the cycle of destruction. “The hatred will always come,” says Joe. “Embracing love is the overall message.”

The shuddering metal of Trenches was inspired by one of Maruja’s regular messages to fans before gigs: “See you in the trenches!” The song is a nod to the band’s personal story – and to their belief in the power of music to effect change: “We use those words, see you in the trenches,” says Joe, “because the message of the band is about community – trying to make a difference.”

Does he think Maruja can make a difference?

“Yes. Music used to be a superpower – Marvin Gaye, Nina Simone, all these artists were speaking to the Black Power movement, and music was at the height of culture. The world is crying out, especially on the left, for people to build from a place of community. For years it’s been your solo artists, your Ed Sheerans – but to have a band, a community… We see it at the shows, the countless personal stories we’ve heard.”

Maruja don’t hide their political feelings at gigs, but they have to be increasingly subtle at US shows at the moment; in Washington recently, Harry spoke about a kakistocracy – being governed by those who are unfit to lead.

“We have to be careful about the way we put things, in order to reach as many people as possible. It’s strange when you have world leaders out there committing atrocities and there are no consequences at all! But if it’s harder to say stuff, it means it needs saying more than ever…

Their music, their very dynamics, speak loud enough: and the four-way friendship at the heart of the band is a metaphor for the kind of unity they’re seeking.

Matt and Harry studied music and performance together in Manchester, before Harry transferred to electronic music production. In their early days, Maruja sounded as funky as Parliament. Joe pushed it further into jazz territory when he brought his sax into the picture: his playing can bring to mind the mesmerising loops of Sufi music.

As for the jazz references, they have no training. It is more of an attitude, they say – a sense of possibility and freedom. “Jazz is having no boundaries,” says Harry, “and being completely free to express yourself. There is no formula, no rules. It comes from us loving what we do. We could improvise together all day and have the best day of our lives.”

“It’s about the energy of letting yourself go, something you can only achieve when you have been at it for prolonged hours,” Jacob adds. “You have to be really comfortable with one another emotionally so you can allow your unconscious to take over. We go into a trance-like state when we’re playing – an hour goes by, and you have no sense of time.”

“When we play, it’s always to do with getting things out that have been trapped in us,” says Harry. “Whether it’s war across the sea, relationships, society’s pressures – it’s always like you’re relieving some kind of pain. It’s about not being afraid of being vulnerable on stage, completely letting yourself go. People can see how free you are. I never felt as free in my life as I do on stage, jamming with the boys.”

“killer from front to back and I can’t wait for these guys to get into album mode….when these guys eventually go into full record mode, it’s going to be incredible” – Anthony Fantano

“will leave listeners breathless but begging for more” – DIY Magazine

Michael Cera Palin

"Hey Elliot, i wanna make more interesting punky/emo music with people, would you wanna start up a project that sounds kinda like that?" ~Jon Williams (via Facebook Messenger) Funny name, right? booking: michaelcerapalin@gmail.com

Sikth

Arcane Roots

Oathbreaker

Agent Fresco

“AGENT FRESCO HAS NEVER BEEN ABOUT EMBRACING COMFORT ZONES. IT’S ALWAYS BEEN ABOUT PUSHING OUR OWN EMOTIONAL AND MUSICAL BOUNDARIES.”

– ARNÓR DAN ARNARSON

Sometimes, you can feel where a band is from. Agent Fresco are as untamed, graceful, momentous, dangerous and unpredictable as the land they come from. Agent Fresco are from Iceland – a country almost impossible not to be influenced by. “Living in a country that has summers of non-stop light and winters of almost complete darkness is bound to have an impact on your state of mind,” says vocalist, composer and frontman Arnór Dan Arnarson. So that’s settled.

Agent Fresco’s music is a reflection of this ever-changing landscape, with its overwhelming sense of freedom and vastness. This is a progressive Art Rock band that needs to be experienced from a few steps back to be grasped in its entirety, like a bold work of art. In the last couple of years, their iridescent, propulsive, arty and highly addictive music made the highly esteemed Reykjavik band – comprised of Arnór Dan, Þórarinn Guðnason, Hrafnkell Örn Guðjónsson and Vignir Rafn Hilmarsson – become the favourite of a music-loving nation and an act sparking international interest. Or, to use the words of MTV’s own Halley Bondy: “By and large one of the best bands to come out of Iceland”. And this in a country with a higher band per capita ratio than most others!

All it took was one album. A Long Time Listening, released in 2010, caused disbelieving faces, breathless wonder and bottomless enthusiasm for a passionate musical display like this. Prog Rock, Avantgarde, Metal or Alternative? Jazz, Post Rock or even Djent? The critics raved, vying with each other in a futile attempt to label these tunes from Iceland. “An amazing album by the best rock band in the country today,” was the verdict of the country’s most important national newspaper, Morgunblaðið. Even by the wide-open standards of Icelandic music Agent Fresco’s interpretation of the rock genre is unusually soulful and multi-layered, with a quicksilver rhythmic pulse and mother-of-pearl harmonies reflecting every mood colour imaginable. “There’s an incredible amount of artistic freedom in this band,” Arnór Dan states and Þórarinn adds: “The moment we stop pushing boundaries we can call it quits. I truly hope that never happens.” For Agent Fresco, the challenge is of utmost importance. The challenge to surpass oneself, to go places, to enter new territories. This is only possible by maintaining integrity, says Arnór Dan: “I truly feel like we’re creating something unique and honest while we challenge ourselves on a professional and personal level.”

An especially profound challenge lay in the concept of the first album. A Long Time Listening was centered around his father’s death. “It made me realize how monumental music can be,” he says. “It not only gave me the chance to deal with the loss of my father, it also gave me the possibility to honour his name in the best way possible.” It’s true, every single listener will experience this album in a different way, will get something else out of it. Arnór Dan is not the guy to tell straightforward stories. “I find that creating layers of imagery within the song helps the listener experience the song more uniquely and leads them to a more personal interpretation. Writing lyrics in a direct manner just never fascinated me.”

This was five years ago. Since then, two tours have led Agent Fresco through Europe, taking festivals such as Roskilde and Euroblast by storm. Their reputation for being a rare treat when heard live, an intense monster once unleashed on stage, quickly added to their prestige. “Playing live is a whole other feeling, so different from composing,” comments Þórarinn. “It’s about interpreting your own work – kind of like dancing with yourself.” This didn’t go by unnoticed as the band learned after their stunning gig at Reykjavik’s own Iceland Airwaves. “Seriously, this band is so impressive and the way the entire room sings along to their stunning Eyes Of A Cloud Catcher is a moment that’ll live long in the memory of all here,” an enthused Paul Brannigan of Kerrang Magazine wrote after seeing the band at this prestigious festival.

But the second album… well, it just wouldn’t come. A classic case of catch-22 for Arnór Dan as he again had plans to exorcise some pretty serious demons with the help of this record. “The emotional trigger for this album was a disgusting encounter with violence that I had three years ago,” he remembers. “Two guys attacked me very late one night and I was left behind with a broken eye socket, a cut to the eyebrow and a concussion. This changed me. I decided to let the anger and angst intensify and I kept them animated throughout the entire writing process to feed off of these raw emotions.”

That’s why the album is called Destrier. “A destrier (pronounced DES-treer) was a medieval warhorse, born and raised for battle. I found this to be a beautiful, mysterious and muscular companion for the songs and a perfect concept for the album.” But the events of Arnór Dan’s brutal encounter were still so close to him that he couldn’t let them go. “In hindsight, I now realize that it got a bit out of hand in the end. I almost fell victim to my own personal Stockholm Syndrome in dealing with my anger and that is what I wanted to capture in the See Hell music video.” This stunning second single, with its thoughtful, tragic images, leads into the dark world of the second album. “It’s amazing and terrifying how destructive angst and anger can be to your physical health. I constantly lost my voice, had a difficult time sleeping, experienced anxiety attacks and had a very hard time focusing during the last stages of the recording.”

At long last, the mission Destrier is accomplished, and it outstrips its predecessor almost effortlessly. The 14 new pieces of music are a cornucopia of musical atmopsheres, ideas and textures, an emotional tour de force through lightless chasms, up to the skies, leading from the darkest aspects of human existence to moments of sheer beauty. Suddenly, it is all just too clear why this album took so long: works like these are not to be written between lunch break and dinner. Agent Fresco managed to maintain the musical variety of the debut album, but stretch it even further. “I’ve tried to explore and analyze difficult emotions such has anxiety and anger while Þórarinn experimented with how harmonics and rhythms can be perceived differently by the listener.” Þórarinn’s take on it is this: “There are so many ideas that have not been explored, especially of the rhythmical kind. I’ve also been very fascinated by the harmonic series and its relationship with sound, perception and links to other aspects of music and natural sounds.” This makes Destrier his very own playground of visionary ideas.

To be precise, Destrier is a journey through every guitar-drivengenre developed before, with influences ranging from classical music to philosophy, from poetry to ancient myth, to create their very own brew of emotionally packed pieces. Rolling Stone described Agent Fresco as “an Icelandic band that somehow veered from blazing alt-guitar rock to Steely Dan-ballad piano figures and Queen stadium-gig hurrahs, often in the same song, to decisive euphoric effect.” The Music Void’s take is this: “a male version of Björk with a band coming from a Rage Against The Machine angle.” Yep, it’s in there too. But far from coming close to the core.

Destrier is proof that too many cooks do not necessarily spoil the broth. The album is conceived as a work of art, not just a mere collection of songs. “I’ve always found it natural to write and produce a record as a unified work or art,” Arnór Dan shrugs. Agent Fresco’s music is not for mere entertainment purposes, that should be clear by now. Although, to be fair, they wouldn’t mind if you’d use it so. “My music is an extremely powerful outlet for me and I believe that writing lyrics help me evolve emotionally and intellectually as a human being,” says Arnarson. “Being creative and making music simply gives me a purpose.”

– Björn Springorum

Agent Fresco are,

Arnór Dan Arnarson: vocals

Hrafnkell Örn Guðjónsson: drums / percussion

Vignir Rafn Hilmarsson: bass / upright bass

Þórarinn Guðnason: guitar / piano / programming

Conjurer

MASTER BOOT RECORD

I am a 486DX-33MHz-64MB processing avant-garde chiptune, synthesized heavy metal & classical symphonic music. 100% Synthesized, 100% Dehumanized.

Amplifier

Amplifier Bar - Live music venue and bowling bar

at 393 Murray st

Svalbard

Julie Christmas

Darkher

www.instagram.com/darkhermusic

Bookings: darkhercontact@gmail.com

Label: Prophecy Productions

Nordic Giants

Lost in Kiev

S.O.M.

Town Portal

PUPIL SLICER

🌸🌸🌸🌸🌸

Kate

Josh

Luke

Bookings: haydn@northernmusic.co.uk

Alpha Male Tea Party

Jo Quail

Cellist som blander klassisk, metal og avantgarde.

Overhead, the Albatross

Gösta Berlings Saga

Instrumental rock band from Stockholm, Sweden.

We've been doing this for what feels like 20 mins but it's probably closer to 'since forever'.

Buy records and merch at www.tnor.se/gosta-berlings-saga

Heck

Itoldyouiwouldeatyou

Chalk Hands

Pil & Bue

Explosive duo-rock band

Papangu

Bruit ≤

https://instagram.com/bruit_official

Witchsorrow

You Win Again Gravity

Leeched

Night Swimming

mgmt: lewis@atticusmgmt.com

https://linktr.ee/nightswimmingband

Moksha

Forlorn

There are at least 2 bands with the name Forlorn. 1.) Through the band 122-Stab Wounds, Alvarin & C. Worhn hooked up to form the fundament of Forlorn. At this point, Forlorn was still a mere project in the developmental stages. While working on their debut EP. Forlorn signed a deal with Head Not Found to release 2 CD's. Soon thereafter, Forlorn were joined by S. Aske on vocals and the first EP was completed. The work for "THE CRYSTAL PALACE", their full-length debut, began early after the recording of the EP; and was to be the final release on Head Not Found and with vocalist S. Aske. In 1999, Forlorn signed a 2 CD contract with Napalm Records. The release of their Napalm Records debut resulted in the piece "OPUS III - AD CAELESTIS RES", which took a new turn in the Forlorn saga, both musically and lyrically. Still dealing with epic stories, the music went on to become more intense, yet keeping the atmospherical elements intact. After the release of "OPUS III", a major change happened in the Forlorn camp which would prove to be a turningpoint. C. Worhn announced his departure and from there on Alvarin sought out new members who could participate in evolving Forlorn and who was sure to be devoting, all as one...one as all... To correspond with the all new Forlorn, Alvarin changed his artist-name accordingly, and now goes under the artist-name "Hennex". Hennex found such members through engaging a talented BM drummer, S. Winter, whose dedication and seriousness would be an inspirational source for the band. Next to be recruited was Dolgar, who by then had just left Gehenna due to internal conflicts. When asked to join Forlorn, he did with extreme dedication and with new ideas which will rock the very foundation of BM. Next in line Forlorn found Vulpes, originally a devoted and brilliant guitarplayer, but was asked to join Forlorn on bass. He accepted and has from there on been a permanent and fully dedicated member. Forlorn also recruited Iego to handle the keys, however, things did not work out the the band hoped for, so Forlorn subsequently recruited a new keyboardplayer; B. Lonafell - a talented and skilled musician, but once again it was the wrong man for the job. These days Forlorn are happy being the strengt of four, but have recruited Kine Hult (keyboard) for live shows. And by this Forlorn has come full circle. The machinery...the horsemen...the power is unleashed - prepare for metal worthy the gods of time! Their latest audio-chapter "HYBERNATION" has gained massive acclamation around the world, and the band are now claiming new times as well as new ground!!! - Forlorn 2.) Forlorn, a metal act from the West Midlands in England. Exploding on the metal scene in early 2006, they have created a sound which is powerful, yet remains unique compared to other metal acts. Forlorn are known for their heavy sound and strong live performances. They have recently recorded their debut E.P, 'Hearts To War'. www.myspace.com/forlornmusic

god alone

Giant Walker

Humanfly

HAAL

Bucket

Dublin-based 3-piece Bucket embrace elements of noise rock, hardcore and industrial to forge an exceptional and shockingly abrasive sound. Bucket aim to test the limits of volume and intensity, delivering a punishing and energetic live show. In spring 2025, Bucket released their debut EP Muck, a blistering listening experience and a brutal display of the Irish band’s raw and chaotic sound.

Zatokrev

ZATOKREV

lowheaven

Benthos

Progressive Metal / Mathcore from Milan, Italy.

New album From Nothing OUT NOW via InsideOutMusic.

Stream/buy here: https://benthos.lnk.to/FromNothing-Album

Sans Froid

Iskandr

Sara Zozaya

Erotic Secrets of Pompeii

🐐 WEIRD ROCK FOR STRANGE TIMES 🐐

From Bristol, UK.

Ringlets

No Violet

Hang Linton

Dimscûa

Swamp Coffin

Worn Out

NEW EP ‘LOW’ OUT NOW 💀

Vinyl via Ripcord Records 🇬🇧 & Bandcamp 🌎 Tape via Death Farm Records 🇪🇺

https://linktr.ee/wornoutnoise

Sleemo

Shearling

Civil Service

Bruise Blood

PREYRS

preyrs.com

Wildernesses

L.O.E

Senor Pink

The Grey UK

Believe in Nothing

Moksha (UK)

Meatdripper

Chat Pile

Throughout parts of the mid-western United States lie towering mounds of the waste residue

from early 20th Century lead mining operations. Comprised of what is known as "chat," these

hills of toxic, metallic dust dot the countryside as if they were headstones for communities

destroyed by industrialization such as Picher, Oklahoma. These effigies would come to be the

namesake for the Oklahoma based band, Chat Pile, whose grotesque and pummeling brand of

noise rock has managed to terrorize listeners worldwide in only a matter of months.

Intent on raising as much havoc as possible, Chat Pile was spawned from the bowels of the

OKC underground music scene in February of 2019. Consisting of Raygun Busch (vocals),

Luther Manhole (Guitars), Stin (Bass), and Captain Ron (Drums), the quartet brings with them a

sludgy and starkly nihilistic take on noise rock. Channeling everything from the oppressive

sludgy beat downs of Godflesh, the vulgar absurdity of The Jesus Lizard, and the rebellious,

post-modern experimentation of Sonic Youth, the works of Chat Pile are bleak, brutal and

genuinely terrifying.

Few bands have a level of self-understanding as Chat Pile. Despite the infancy of the project,

Chat Pile continues to be a standout among the sea of D.I.Y. music projects to come out in

recent memory. Their brand of crass, crushing, and poignantly cynical noise rock fills an

otherwise unaccounted for niche in today's underground music landscape.

- Evan Mester

Psychonaut

Australian Power Speed Thrash Death Rock Metal

KLÄMP

SEVIT

Tanzana

Barrens_Official

SCALER

SCALER (fka Scalping) are a Bristol based live techno band. Blistering performances are known for astute production formed through a love their hometown’s visionary off-the-wall dance music as well as full throttle noise and punk.

The Tony Danza Tapdance Extravaganza

Kathryn Joseph

Witch Fever

Our sophomore album ‘Fevereaten’ is out now

https://www.witchfever.com/links

Cardiacs

A.A. Williams

MANAGEMENT: takeheedhb@gmail.com

BOOKING: haydn@northernmusic.co.uk

Zeta

The Intersphere

Múr

íslensk þungarokks hljómsveit (spilar á föstudagskvöldi)

battlesnake

The rising titans of Australian hard rock and pure heavy metal, Battlesnake have quickly ascended from the underground, captivating audiences worldwide with their unique blend of powerful riffs and dynamic songwriting. Channeling the likes of Queen, Judas Priest and Black Sabbath into something familiar yet ground breaking. Renowned for their high-octane live performances, epic theatrical compositions and relentless energy, they have firmly established themselves as one of the most exciting acts in contemporary metal. Mortals tremble, all hail Battlesnake!

otay:onii

Born in Haining, China, Otay:onii (Lane Shi) is a troubadour, performing musician, multidisciplinary installation artist, working sound designer and film composer who’s currently resides in NY. She is also the vocalist of the punk spit band Elizabeth Colour Wheel (US). Otay:onii was honored bronze prize for “Best Female Vocalist” from Global Music Awards, “Best Sound” from the Audiovisual Arts Industrial Incubator Awards, her recent music video “Un deciphered” is an official selection by the Silicon Valley Asian Pacific Film Festival. Otay:onii ’s installation performance piece Unwrap! opened its first edition at Ming Contemporary Art Museum in Shanghai (2021), as well as series of improvised sound pieces at Himalayas Museum, FanRong Museum, and more. Electronic, ambient, sound collage or noise, Otay:onii breaks down structures that chains her neck and feet, aiming to be free on the ride of acute instincts and establishing a bodily connection through the synchronization of the heart and mind. She believes in echos, and “solving a puzzle with another puzzle that can't be seen, be touched, but to feel”

Youthmovies

SKLOSS

XO Armor

THE BAND YOU KNEW AS CODA IS NOW CALLED XO ARMOR! YOUR FAVORITE NEW HEAVY ACT BASED IN KOBLENZ, GERMANY!

Møl (DK)

WORN OUT (IRE)

ZAHN

eivør

Eivør Pálsdóttir is a Faroese singer, songwriter, and producer whose genre-defying sound has captivated audiences across the globe. Hailing from the remote village of Syðrugøta in the Faroe Islands, Eivør’s music seamlessly weaves together Nordic folk traditions with dark electronica and cinematic pop, creating an otherworldly yet deeply emotional experience.

Over the course of her two-decade career, Eivør has released twelve studio albums, with her latest record, ENN (2024), marking a bold evolution in her artistry. Sung entirely in her native Faroese, ENN explores themes of nature, desire, and resilience, combining organic instrumentation with haunting electronic soundscapes. The album, released via independent label Season of Mist, has solidified Eivør’s status as one of the most innovative voices in contemporary music.

Eivør’s powerful vocals and immersive live performances have earned her a devoted international following. She has toured extensively throughout Europe, North America, and beyond, selling out headline shows and supporting renowned acts such as Heilung. Her dynamic stage presence has graced major events, including The Game Awards at the Hollywood Bowl and the UEFA Champions League opening ceremony.

Beyond her solo work, Eivør is widely recognized for her contributions to acclaimed soundtracks, including Netflix’s The Last Kingdom and the award-winning video game God of War Ragnarök. Her unique ability to blend haunting melodies with evocative storytelling has garnered critical acclaim, along with numerous awards such as the Nordic Council Music Prize, Icelandic Music Awards, and multiple Faroese Music Awards.

With a fearless approach to music and a deep connection to her Nordic roots, Eivør continues to push creative boundaries, inviting listeners into a sonic world that is as raw as it is ethereal.

For more information, visit eivor.com.

Din of Celestial Birds

L.O.E (Last Of Eden)

LOST IN KYIV

Arc Tan Gent 2026 @ Fernhill Farm

Arc Tan Gent 2026 @ Fernhill Farm

Flytjendur