Swedish duo Valhall has released a number of works since their formation in 2012, becoming a staple on the Artoffact Records roster.

With this new album, they continue to delve into their unique and original take on Electro. Their sound remains enigmatic, shaped by a blend of contrasting atmospheres—drifting somewhere between Space-Pop and darker, Cinematic realms. The vocal work is especially diverse, ranging from robotic tones to angelic harmonies, often delivered as a beautifully matched duo. At times subdued and mysterious, the music draws you in with its subtle power—that’s precisely the strength of both the band and this new opus.

This is a rich, mature album marked by variety and depth—highly recommended. (Rating:8).

Listen to “Nocturnal Eyes”:

https://vlhll.bandcamp.com/track/nocturnal-eyes-2

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

The Midgardsblot festival, held at Borrehaugene (old viking grave mounds), outside the city of Horten, Norway, is mostly known for hosting acts within the metal genre in addition to some folk and viking inspired music.

This year, the festival first caught our attention with the announcement of Bel Canto as one of the headliners, followed by Gåte, Seigmen, Karin Park, Ledfoot, and others—definitely worth reporting on for Side-Line Magazine. And who knows, we might even discover some new bands. We headed there in mid-August to check it out!

(By our Norwegian correspondent, Jan Ronald Stange. Photos by Einar Låker and Jan Ronald Stange. Additional Dwaal photos by Jon Julius Sandal @ helvetesindrekretser and Birgit Fostervold @ knipselyst)

Side-Line’s chief editor, Bernard Van Isacker, was supposed to join me for the festival, but couldn’t make it due to a family emergency. His replacement, Einar Låker, brought his cameras and joined me instead. Since we had to attend meetings and handle some work during the day, we skipped the tenting area and set up base at a nearby campsite in a mobile home borrowed from my parents (thanks, Sigrid and Carl Edvard!).

After settling in, it was time to head to the festival grounds, which required a short hike through historic Viking graves. We collected our passes and entered the blót, an ancient Norwegian/Norse sacrificial feast.

The first act we saw was Kalandra, a UK/Norwegian band blending Celtic and Norse folk with modern arrangements. They’ve been around for over a decade, gaining recognition with their cover of Wardruna’s “Helvegen”. Since then, they’ve released several albums and composed scores for TV shows and video games.

After Kalandra, we explored the rest of the area, visiting the trade section Kaupanger, the Viking tent area Folkvangr, and the indoor stage Gildehallen (the “Feast Hall”). It was a sight to see people fully embracing the chance to step back in time.

We wrapped up the first day by watching the Swedish Viking rockers Amon Amarth, who had their fans completely enthralled—even getting hundreds to sit down and row in the middle of a song! 😊

Thursday was a rainy day, so boots and jackets were a must. We caught a bit of the Norwegian thrash band Inculter and the Polish death metal band Vader before heading inside Gildehallen for something entirely different: Trio Oro, a Norwegian world-folk fusion group featuring flutes, guitars, and percussion. They delivered a diverse set with tunes from Irish, Bulgarian, Norwegian, and other traditions. It was original and unexpectedly entertaining!

One of the main attractions, Gåte, had to cancel due to a band member’s illness and was quickly replaced by Hindarfjäll & Peter Franzen, a Swedish project that uses modern instruments to recreate the ancient sounds and atmospheres of Scandinavian/Nordic folk music.

Next, we escaped the rain by heading back into Gildehallen, catching the last few songs from local thrash band Mortal Fear—three teenagers with the drummer’s father on vocals. It was very entertaining!

The day ended with thrash metal titans Testament from California, USA, closing out the main stage at Heiheim.

Day 3 was special, with two bands from my hometown, Tønsberg, performing. Seigmen headlined the Helheim stage, while newcomers Fabbrica 82 were about to play their first-ever show in Gildehallen. We spent an hour there beforehand, chatting with the band members, Knut Ove Hansen and Lars Anders Berg, before their soundcheck and concert.

S-L: How did you come up with the band name?

Knut Ove Hansen: We started high school in 1982, and we chose Fabbrica because we wanted a name that could be associated with new wave. We went with the Italian version because “factory” was already overused in English, and I have a personal connection to Italy.

S-L: What were your first attempts at releasing music?

KOH: One of my early bands made our first demo tape at the local radio station in Tønsberg in 1985—it was actually the first synth-related demo recorded in Tønsberg! We played three gigs the following year as the band Some Bizzare, named after the famous compilation album where Depeche Mode, among others, had their first track on vinyl. We also had a third member, Bjørn Arnesen, who now lives in Peru. Lars reached out to me several times, in 2020 and again in 2023, asking if we should give it another try. I was hesitant at first, but then we made “Darkness,” and we were back at it.

Lars Anders Berg: Over the years, I’ve composed hundreds of songs, and I always wanted someone to sing to my tunes. After years of talking about it, we finally made it happen. It’s been a lot of fun, and we’ve quickly released several singles!

S-L: Any album in the making?

KOH: Yes, it’s what we’re working on. We also got another gig in October in Tønsberg. This is not where we thought we would be just six months after our first release – feels quite surreal! All because of the word of mouth in Tønsberg’s small “synth underground”, and it also spread to Oslo where we’ve gotten good feedback.

S-L: What’s your inspiration?

Lars Anders Berg: I listen to a lot of music, not just old synth, but many electronic genres. So, the process of creating themes, melodies, and tweaking knobs is an inspiration in itself.

As the hall filled with people, we noticed at least a dozen audience members already wearing fan T-shirts, and the band was thrilled after their first show.

As we left Gildehallen, we caught a few songs from Nytt Land on the Valhalla stage—a Siberian shamanic act that blends the vocal traditions of Northern Europe with traditional Siberian throat singing. It was a stark contrast after a synth gig and truly highlighted the diversity of the festival!

The last show we attended on Thursday was Seigmen at the Helheim stage. It was a fantastic performance, featuring a new song with guest Espen Winther from the medieval/folk band Eldrim, playing his harp. It was magical—a gig that later received well-deserved praise in reviews!

The last day of the festival started off relaxed, with a stroll around, soaking in the sights and atmosphere under the sun. Then Ledfoot (Tim Scott McConnell) took the Valhalla stage. This goth-blues phenomenon was someone I’d been wanting to see live for a while, and he didn’t disappoint. He delivered a set full of raw emotion—soreness, anger, longing—and impressive guitar playing.

I had been in touch with him before the festival, and we agreed to try for an interview. However, due to his soundman’s tight schedule, they had to leave the area minutes after the show, so we exchanged a few words via Messenger a few days later instead.

S-L: How was your gig at Midgardsblot?

Ledfoot: The audience was great, and there was such a good vibe there 🙏

S-L: Did the show or audience differ much from your solo gigs?

Ledfoot: No, it’s the same everywhere—I do my best and hope the audience appreciates it.

S-L: More music in the works?

Ledfoot: I’ve started on my new record, and hopefully it’ll be out by the end of the year.
And I’d like to say a big thank you to the audience and all the people working behind the scenes.
Hugs!

Next, we went to see Bel Canto, the pioneering Norwegian electronica band, performing a set that spanned their entire career, including a few new tracks from their latest album Radiant Green. As always, they delivered a top-notch performance, and Anneli’s voice remains as impressive as ever!

Making Bernard envious by sending him live photos was an obligatory part of attending Bel Canto 😉

I also managed to spend a few minutes in Gildehallen to check out another band with a Tønsberg connection, though mostly from Oslo—the doom-sludge-ultra-heavy Dwaal. The hall was packed, with a queue outside, clearly hitting their target audience perfectly. I later caught up with lead singer Bjørnar Kristansen to ask about their experience.

S-L: How did Midgardsblot treat you?

Bjørnar Kristansen: Midgardsblot was amazing. Right after the show, we said it was one of our favorite gigs, if not our favorite. The crowd’s energy from the first riff to the last deeply affected us. I asked for a ritual, and we got a ritual for sure. A true catharsis, both on and off stage.

S-L: How does playing at a festival like this compare to club gigs?

BK: Festivals are different from club gigs because the crowd is a more varied mix of people—those who already know Dwaal and those giving us a chance for the first time. Not to say anything bad about the Norwegian audience, but it seems like international music lovers are more open to discovering new music. They come from far away and want to engage with as much as they can, even if they’ve never heard us before. It makes for an intense experience in the best way.

S-L: Did you explore the festival area, try the Viking activities or food?

BK: Our drummer Anders went on Friday and had a great time at the Blot. The rest of Dwaal arrived on Saturday, and we had some time to explore the festival. It’s an incredible event. Everyone makes you feel so welcome and included. A huge recommendation from Dwaal!

S-L: Any upcoming releases, albums, gigs, or other news?

BK: As 2024 winds down, we’re hard at work on new music, with some exciting projects that push us out of our comfort zone, which we love. Our last regular concert of the year will be at Apollon Tønsberg on October 11th, with Uaar as support. On December 14th, we’re playing the Caliban Sessions, a yearly mini-festival hosted by Ole Petter Andreassen of Black Debbath, Thulsa Doom, and Cumshots fame. It will be a fantastic end to a great year for Dwaal, marking our tenth year as a band. There are plans for a gig in Oslo in 2025, so stay tuned for that announcement.

We’re also in talks for more live shows in Europe, though nothing we can confirm just yet. And of course, if Midgardsblot invites us back, we’d love to play again!

The last show in Gildehallen this time around was the one that probably impressed me the most—Karin Park from Sweden. Alone on stage, standing between two tables covered with synths, computers, and modular gear, she sounded and performed like a full band, delivering an incredibly energetic set. Crown her the Queen of Synth already! (go to https://www.facebook.com/748210539/videos/1540166493571503/ for videos, several in the comments!)

The Norwegian band Emperor, regarded as pioneers of extreme black metal, closed the festival on the main stage, Helheim, in front of a devoted audience.

To sum it all up: a festival well worth visiting! As they’ve expanded the musical genres in their lineup, there’s now something for everyone without losing their core purpose or audience. This approach also increases the chance to discover something new, which is always a plus!

A big shoutout to Runa Strindin, the driving force behind the festival, and her entire crew for making it such a success! Hopefully, they’ll continue for years to come, and perhaps the 10th anniversary next year will be even more special?!

PS: As a food enthusiast, I must mention the excellent variety of food, ranging from handmade hot dogs to Thai, Mexican, elk burgers, and elk kebabs! Most impressive was the food from the Norwegian Chefs National Association, Vestfold branch (Norske kokkers Landsforening, avdeling Vestfold)—their hot-smoked halibut dish was to die for! 😊

jrstange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

www.facebook.com/jrstange

Coventry’s industrial and cinematic darkwave band, Attrition, led by founder Martin Bowes, is gearing up for its first-ever tour of Australia and a return to New Zealand in October and November 2024. This tour follows the release of their album “The Black Maria” which dropped earlier this year via Two Gods Records.

Joining Attrition on the Australian leg of the tour is New South Wales’ industrial synth crust outfit Schkeuditzer Kreuz. Canadian ritual-ambient artist Subterranea (also known as Alia Synesthesia of Attrition) will accompany them for all Australian and New Zealand shows, except the Melbourne date. The tour will also feature a rotating lineup of special guests from the local underground music scene, including Life Cult, The Cold Field, DevilMonkey, Mankind, and more.

The 11-date tour kicks off in Perth on October 24th, with subsequent shows in Adelaide, Frankston, Hobart, Melbourne, Sydney, Brisbane, and Nambour. Attrition and Subterranea will then travel to New Zealand, where they will perform in Christchurch for the first time, followed by shows in Wellington and Auckland.

Check Attrition’s website for ticketing details.

Attrition on tour

• 24 October: Perth, four5nine, Rosemount Hotel, with Schkeuditzer Kreuz, Life Cult, and Subterranea.
• 25 October: Adelaide, Hotel Metro, with Schkeuditzer Kreuz, The Cold Field, Subterranea + DJ Empusa.
• 26 October: Frankston, Singing Bird Studio, with Schkeuditzer Kreuz, DevilMonkey, Subterranea + DJ Varunia Khan.
• 27 October: Hobart, Altar, with Schkeuditzer Kreuz, Mankind, and Subterranea + DJ Black Paul.
• 31 October: Melbourne, The Gasometer (Halloween), with Schkeuditzer Kreuz, Death of Art, Palliative + DJ Crowley.
• 1 November: Sydney, Darling Nikki’s, with Schkeuditzer Kreuz, Sounds Like Winter, Subterranea + DJs Xerstorkitte & Action Ant.
• 2 November: Brisbane, The Cave Inn, with Schkeuditzer Kreuz, Chiffon Magnifique, Subterranea + DJs Richard & Josh.
• 3 November: Nambour, Black Box Theatre, with Schkeuditzer Kreuz, Chiffon Magnifique, and Subterranea.
• 7 November: Christchurch, The Embankment Tavern, with Acclimate, Placenta Cookbook, and Subterranea.
• 8 November: Wellington, Valhalla, with special guests.
• 9 November: Auckland, Whammy Bar, with special guests.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Michael Renfield has been active with various music projects for several years. Some will no doubt remember Noise Process, but he is now back with a new album from R010R. “Total Disinformation Awareness” was released by Electro Aggression Records and delivers us 16 songs driven by intelligent, old-school EBM with a touch of Dark-Electro on top. This interview gives us a broader view of this in my opinion underrated musician.

(Courtesy by Inferno Sound Diaries)

Q: It’s been a while ago now you set up R010R. What were the triggers and influences to start this solo-project and how did you see R010R evolving throughout the years?

Michael: Hello, and thank you for this interview opportunity. R010R happened gradually after my previous music project Noise Process ran its course. I moved to New York, and started working with I, Parasite, an Industrial-Metal project. I wanted to create a solo endeavour that had no alignment to a genre or expectation. My initial album “Gradual Destabilization” (2008) was an experiment in deconstructing how I created music while I was also learning a DAW approach for the first time.

Previous to R010R, everything was hardware sequencers, synths, and drum machines. The software world was an interesting challenge. Since I was working with Christopher Jon and “I, Parasite, performing live noise/synths, the album was released on the Dark Vision Media imprint.

As far as an evolution, that is the very nature of R010R. I am not trying to make a product or sell a gimmick. I am just forging ahead and doing various audio experiments. Not everything works as an album or EP format. However, I do make new music consistently. I am just very selective about what I release.

Q: What means music to you? And tell us a bit more about the achievement of your new album “Total Disinformation Awareness”?

Michael: I do music for the love of it and mainly enjoy experimenting in the studio environment. My SoundCloud account has tracks that are only temporarily available, and it is not always feasible to make these into a cohesive release. I enjoy the temporary format and mainly use these as a springboard for new concepts.

After “Gradual Destabilization”, I created another album called “End Of All Reason” (2010). However, I decided to shelve the entire thing and go in another direction. The “Urban Renewal Program”-EP (2012) led to “Daybreak”, and “Unyielding” (2016). I made these while I was collaborating with Dejan Samardzic (Haujobb/DSX), and Martin Sax (Valhall/Ekobrottsmyndigheten) on their projects. “Unyielding” was polished up with Dejan’s feedback and released on their Basic Unit Productions imprint.

“Total Disinformation Awareness”, originated as a series of EP’s that I wanted to release through Bandcamp exclusively. In 2021 I sent a handful of tracks to Dejan again as well as Nader Moumneh (Electro Aggression Records) just to get some feedback as the music was a sort of ‘old school’, return to that 90’s Electro-Industrial sound. Basic Unit at that time was inactive as a label, but EAR had some plans for R010R because Nader stated that he loved the tracks, wanted more, and was considering releasing a CD of the material. I have worked with Nader and EAR for many years, doing artwork and remixes for bands on the label. So it seemed a perfect opportunity to create another album.

Q: What have been the different stages, challenges and difficulties you’d to go through to achieve this new work?

Michael: So now we get to the heart of it all. The challenge in creating “Total Disinformation Awareness” was not the music at all. It was the theme. With “Unyielding”, I was rattled by the Edward Snowden revelations. This led to reading about Thomas Drake and Bill Binney who were also NSA whistleblowers. This led to Wikileaks and Julian Assange, the Hillary Clinton emails, and Vault 7. Without getting into those details for the sake of your readers, my worldview journey eventually got to “Total Information Awareness”. A DARPA program of mass surveillance that utilized several defence and intelligence contractors that were also in Wikileaks documentation of interest. “Total Disinformation Awareness” is a nod to that program and the idea that social media took up where that program ended.

Q: Anything more we’ve to know about the lyrical content?

Michael: I think I made it clear with the press release. ‘There is a ton of disinformation being pushed through official channels and it is designed to keep us in a state of confusion and belligerence towards each other. It is imperative that we recognize and call out this attempt at deceit or we are going to become victims of oppression within our own ‘democratic’ systems.’

This has only become even more apparent with current news cycles where anti-war protesters are identified as anti-Semitic, COVID conspiracy theories are revealed to be factual, and politically aligned individuals are termed ‘a dangerous cult’. Meanwhile, all sides are pushing lies and misinformation frequently and without remorse. This is the art of destabilization that we must defend against. How can we be informed citizens and make informed decisions in our countries when our worldview is illusory?

Q: Sound-wise there clearly is a sophisticated, ‘old-school’, EBM sound running through the songs which might remind to legendary bands from the Canadian EBM school but also to bands like Mortal Constraint, The Klinik ao. What does it say about your perception of sound, sound creation and global production?

Michael: This is always interesting to me, the alignments that the audience hears in my music. Of course, I am aware of and listened to this style of music decades ago. However, if you ask me what inspired me to write “Total Disinformation Awareness” I would say Modeselektor, Ben Frost, and Bosse De Nage. I listen to a great deal of music 24/7 and only a small percentage of it is still Electro-Industrial. I honestly love this modern landscape of music. Independent music has never thrived like this. I have several webzines and platforms I visit every week just to keep up.

Q: What comes after “Total Disinformation Awareness” and do you’ve plans to bring the music on stage?

Michael: Next up on the worklist, I continue the R010R EP’s I was writing before Total Disinformation Awareness”. I already have several new tracks that will drop on Bandcamp later this year. These will be more Techno and Noise-related than EBM or Electro-Industrial. However, I have been tasked with a handful of new remixes for EAR artists as well as some additional Electro tracks for the upcoming EAR compilation. Those will be along the lines of “Total Disinformation Awareness”. I also have plans to start doing live Noise webcasts through my Youtube channel, as well as a new free-form Noise project I call Diminished Bastard Sword. The best way to keep track of what I am doing is through SoundCloud and Youtube. I will drop a link below.

Lastly, negative. I have no plans to play out live. I have done that thoroughly in my youth and I rather stay in a controlled studio environment. I also have a family and a ‘day job’. Arranging shows or a tour schedule is not possible.

Thank you again for reaching out and arranging this interview. I very much appreciate it. https://linktr.ee/soillodge

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

(Photo by Xenturion Prime) Out on April 12 is the all new album by the Swedish/Norwegian synthwave/futurepop duo Xenturion Prime (formally the members of Code 64) aka Bjørn Marius Borg and Hasse Mattsson (Hans-Olof Mattsson). The CD version of this album will be limited to just 300 copies.

This limited edition remix album is based upon the “Prisma” album (2022) and all the tracks has been reworked totally by acts such as Valhall, Lights A.M, Vanguard, Midnight Resistance, Karin My and Technomancer just to name a few. Back in 2022 our reviewer said this about the “Prisma” album: “The band still has something apart from the rest which makes their originality and strength. The global production has been improved from album to album but especially the uplifting  effect from the choruses is a noticeable evolution.”

Check out “Embers” in a Midnight Resistance remix.

Tracks:

• Embers (Midnight Resistance Rmx)
• Last Dance (Technomancer Rmx)
• Renegade (Xenturion Prime Radio Edit)
• Moving on (Tianzi Rmx)
• Premonition (Bariuz Rmx)
• Memory Lanes (Mars TV Redux)
• Shades of Light (Valhall Rmx)
• Distant Voices (Karin My Rmx)
• Renegade (Vanguard Rmx)
• Starburst (Lights A.M Version)
• Pathfinder (Cosmoplex Rmx)

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Out now is the newest single from the Swedish witchhouse and darkwave duo Valhall, “Slithering”, it’s the second single taken from the upcoming release, “Neversleep”. The “Slithering” single is out now on Bandcamp, Spotify, Apple Music and other DSPs.

About the new album, the band says: “It was not an easy album to make for many reasons, pandemic life and day job and others, and when we sent in the masters and artwork (last day of the deadline) I was more tired than I’ve been in many years. However it is definitely the best work I, and we, have ever done.”

“Neversleep” will be out on CD and digital formats worldwide September 3rd on Toronto-based Artoffact Records.

Listen to “Slithering” below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Valhall returns – one year after their second record “Grimoire” – with a special remix edition: “Grim/More”. The Swedish duo offers here a remixed version of “Grimoire” that takes each track from the original. Remixers on duty were Artoffact Records recording artists Seeming, Ritualz, and Glass Apple Bonzai, along with friends Xenturion Prime, SØLVE, and more!

And there’s more, the remix album also holds an exclusive track: “Hivemind”.

You can now exclusively for Side-Line readers listen to a first track from the album – which will be available on CD as well – below!

Valhall was initiated early 2012 and mixes genres with a focus on Witch House, Wave, Neofolk and Dark Electronics.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

The fine Canadian label ArtOfFact records has launched a mega-sale with tons of releases priced at just 1$. You can visit this special sales page right here on Bandcamp.

Included in this special Bandcamp sale action are releases by such bands as Controlled Bleeding, Dead When I Found Her, Seeming, Out Out, Legend, Encephalon, Ghost Twin, Glass Apple Bonzai, Valhall, Noise Unit, SÓLSTAFIR, Nash the Slash, 3teeth, Mirror (Dave Gahan), Slow, Mobile Clones, Images in Vogue, …

Happy hunting!

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Infest is the UK’s premier festival of alternative electronic music. This year the 20th edition takes place from 23-26 August with an amazing line-up featuring: Empirion, Peter Hook & The Light, Zeitgeist Zero, Grave Diggers Union, Cubanate, Iszoloscope, Siva Six, Def Neon, SΛRIN, Mesh, Liebknecht, ACTORS, YURA YURA, Adam Is A Girl, Flesh Eating Foundation, Aesthetic Perfection, This Morn’ Omina, Strvngers, Elegant Machinery, VaLHaLL, Massenhysterie and Promenade Cinema.

The venue is the University of Bradford Students’ Union, in the City of Bradford (near Leeds), West Yorkshire, UK. Besides concerts there are also afterparties featuring renowned DJ’s from all over the world.

Additional info on the official website
Tickets are available here