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

Grande Loge is a French project set up in 2017. By the end of 2020 they released their debut album “Mantras” on Cyclic Law. The work reveals a mix between clearly Ritual- and Dark-Ambient music styles. The songs have been composed by an impressive arsenal of traditional instruments, reinforcing the Ritual aspect of the sound, but still injecting an authentic touch to the composition. “Mantras” is a great and accomplished album, which incited to get in touch with ‘Nostra’ and ‘Flexor’.

(Courtesy by Inferno Sound Diaries)

Q: I noticed you guys have been involved with Black-Metal music before setting up Grande Loge. Tell us a bit more about your music background and how did this switch from Black Metal to Grande Loge happen? And what inspired you to set up this new band?

Nostra: We like a lot of music genres. In the past, we have played not only Black-Metal, but also Neo-Medieval music and even Funk for example. But yes, Black-Metal is by far the genre we have been most involved with, and for which we’ll always have particular affection.

Grande Loge was created at a time when our band Malepeste was quite active. It was during our rehearsals that we used to end our sessions with improvisations, which was the opportunity to try something different.

We had accumulated some interesting acoustic instruments for Malepeste’s Ambient interludes, but they had been playing a minor role until then. One day the idea of experimenting more freely with this acoustic material appealed to us.

Q: The name of the project might be a bit confusing because of the strong connotation with Freemasonry, but on the other hand the ‘ritual’ element between your music and Freemasons makes sense. What did you try to express by the band name and what have the experiences/confusions been so far?

Nostra: Initially I chose this name quite spontaneously, rather in reference to the Grande Loge Blanche that Helena Blavatsky imagined, because I thought that her syncretic vision of the different traditions could lend itself (in all modesty) to our music with influences that are quite distant from each other. Honestly, I did not think about Freemasons at all originally, but we are now systematically confused with them… We regularly receive messages from people fantasizing about Freemasonry and ready to do anything to become our disciples.

I imagine that these people send messages to every Facebook page that seems mysterious to them until they end up with a guru/pastor/marabout/life coach who will then be happy to take money from them. It really blows my mind…

Q: Let’s talk about your debut album “Mantras”, which has been released for some months now. What can you say about its production and the concept, which is clearly driven by ‘mantras’? And can you tell us something about the production of the vocals, which are really essential for the album?

Nostra: With other musical projects, we used to write the structures of the songs fairly precisely before we performed them on stage, but with Grande Loge it was different. At the beginning, almost everything was improvised, and it gradually stabilized during the performances. It’s particularly visible at the beginning of the album where we take a moment to settle into our songs before we get started.

Flexor: About the production of the voices, we consider them as instruments in their own right; they’re grafted onto the music and occupy their own place in the instrumentation. They are built up like a phat layer to finally form a large choir with different timbres and changing sounds. Because of their linearity and as the repetition progresses, they embody the concept of mantras in two ways: by the words they convey of course (apart from the phonemes assembled for their sound), but also by the cycle of their melodies, which creates a bewitching and meditative cocoon.

Q: The use of traditional/folk instruments has a real strong impact on the production. How did you come into contact with all these instruments and what makes their magic? In which way are the instruments part of the concept?

Nostra: Nothing is off limits to us. For “Mantras” we didn’t want to use synthesizers in order to preserve these ancient atmospheres, but later on why not? If tomorrow we find by chance a berimbau, a kalimba, a kotsuzumi or a hulusi and we manage to make something that creates an attractive atmosphere, that will be fine to me… For this we are lucky to have the famous world music shop Pick & Bock in Lyon. To be honest, what I do with my tanpura is probably disastrous for a real musician, but playing it with an intuitive approach gives me interesting sensations. That is what makes this music enjoyable for us, those feelings and the possibility of being able to accompany it with a strong emotional involvement; that’s why we insisted on recording in live studio conditions.

Q: I noticed there are several French projects (like Stille Volk, La Breiche, Camecrude, etc.) that share a similar passion for traditional instruments and ritual music. Do you feel related with other artists and/or festivals, happenings, and so on? What are your sources of inspiration?

Nostra: There are so many great bands in France that inspire me. I’ve been listening to Stille Volk for so many years, they’ve obviously influenced me in one way or another.

So in which ways do we feel connected? We’re isolated groups observing each other on the internet rather than being a large community. And for me many bands are simply unique and musically inimitable. It’s hard to find who else can play like Rosa Crvx or Gaë Bolg for example, so I don’t see us pretending to make art in the same way.

However yes, many events and festivals interest us. The bands you mention have performed at the Nuits Dark Ritual or at the L’Homme Sauvage festival. These are very good projects, we would like to play.

To mention also non-French musical inspiration, I think of bands like Heilung, Shibalba, Danheim, Nytt Land, Wardruna, Nyiþ and Emme Ya.

Q: The ritual aspect of your music also seems to be very important during live shows. What did you try to express on stage and how do you transpose the music into live shows? What are your plans for live performances now that live activities are finally possible again?

Nostra: Recording an album in our home studio (Studio Akashik) has allowed us to add extra vocals in post-production; but the way we play for the album, in rehearsal, or on stage are actually quite similar.

The decorum of the ceremonies are just a few tricks helping us to get into a proper and receptive state of mind, but yes it’s important. Without this state of gnosis our music would lose its strength.

Among the  other projects, we’ve the recording of the next Malepeste album that we would like to finish for the end of this year. For Grande Loge, there’s a collaboration with the writers Oksana & Gil Prou coming up next year, a work of Sci-fi literature accompanied by our music. There is also a concert with Trientale in Chambery. Things are slowly starting up again…

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

Camecrude is a French solo-project set up in 2017 by Valentin Laborde. One of the main particularities of this project is the use of a hurdy-gurdy together with other instruments. The second album “Enclave II-II” was released by the end of 2020 as a double disc on Cioran Records. The work is inspired by ‘pessimist writers’ and reveals an extremely dark and tormented sound, mixing different genres like Ritual-, Trance- and Dark-Ambient music. I got in touch with Valentin Laborde to get more info about his sonic brainchild.

(Courtesy by Inferno Sound Diaries)

Q: What can you tell us about the origin of Camecrude. How did the project saw the daylight? What kind of music did you’d in mind and what is the band name all about.

Valentin: This project is the fruit of restless nights of radical insomnia. I was crushed by a personal ordeal, a total collapse. And there was this strange moment, at the beginning of this very dark time in my life, when I felt like I was burning and spiraling at the same time. I took my hurdy gurdy, I turned up the volume on my amp, I got so close to it that it caused distortion, and I just started playing without even thinking. What I was playing didn’t matter, I was just trying to create the sound equivalent of a high-pressure hosing down. I needed to be punched through and through by the shape of the sound. I don’t know what happened, but for a while, I was numb.

But evil crept in, restless nights too, and much like a self-inflicted exorcism, I started composing music for Camecrude (‘raw leg’ in Occitan, it refers to a legendary creature from the Pyrenees, a leg with an eye that creeps through the night and that eats anybody that crosses its path; I thought it was a great image for what I was living). When that happened, there was no single musical influence, but little by little I borrowed from Rosa Crux, Artus, Throbbing Gristle.

Q: You’re a hurdy-gurdy player so how did you come to use this traditional instrument for this darker Ambient/Ritual/Noise composition and what’s the way of working?

Valentin: The instrument is a tool to make music. I’ve been playing the hurdy gurdy for 15 years, it’s my tool. It’s as simple as that. My Camecrude albums aren’t about the hurdy gurdy, about showing off the instrument or anything like that. It’s music made with the hurdy gurdy, but also the Lyra-8 (a Russian analog synth that creates an infinity of noises and buzzing). It usually starts with improvisation on the lyra or the hurdy gurdy that I record. Then, I listen to it and it gives me ideas to add. It never really sounds like what I had in mind but each surge creates another surge, and I can’t really control it. It’s hard for me to explain my craft. It’s not a discipline, I don’t comply with musical theories, it’s only about the surge, about uncertainty as a necessity, to escape my mental labyrinth.

Q: Camecrude is much more than just music. It all looks like there’s a real concept behind featuring elements of philosophy, rites & symbols, cultural aspects… Can you give us more details about it?

Valentin: Rites and symbols that surround me create a framed space for me to evolve in. But that’s a vast subject, we all have our own rites, we all live surrounded by symbols, whether we are aware of it or not. I like to play with elders because they create a strong and thick atmosphere in which I feel like I’m possessed by them. When I’m playing I try to invoke a particular atmosphere, I use dangerous spells and in the end, my creation controls me like a puppet.

The cultural side of my work is also used as a material. I don’t need to use hobbits, Vikings, etc. I already have everything here, we all do. I feel connected to this environment, I don’t see a point in talking about the desert if I don’t know what it’s like to cross the desert for years. There are too many bands like Wardruna that create Disney-like music, smooth and clean, about a dream culture, it’s spiritual tourism. So the question of the cultural part of Camecrude is not really realistic, there isn’t any faithful representation or a twisted transformation of a culture, it’s simply a material, not a goal. For instance, using intonation with incantations, with repeated spells, are things that I like. Pronounced repetition create frenzy. We aren’t machines, thus every sentence that I repeat contains micro variations that are always different and create a strange feeling. I like that.

Q: Your work is inspired by so-called ‘pessimist literature’, which I think is reflected through the sound color of your music. How do you transpose these ideas and especially literature into sounds, songs and albums?

Valentin: I am not a philosopher and I’d rather not try to explain the world, our living conditions, life, etc. Camecrude isn’t preaching anything, but inevitably I’m hit by Émil Cioran’s, Albert Caraco’s or Ladislav Klima’s lucidity. That speak to me, I use them. In fact, it’s the other way around.

I don’t translate philosophy into sound. Sound is detached from words, it is linked to internal life. I don’t transpose anything there. I use what makes me, and that’s the result. And it leads to an obvious correlation with these literatures. On the first “Enclave”, I used words by Émil Cioran because he knew how to say things that resonated with me far better than I could.

Q: Tell us a bit more about the writing of your newest album “Enclave II-II”? How did the writing and recording process happened and what did you try to express and achieve?

Valentin: “Enclave I” is linked to the notion of collapse. The collapse of a before and the despair of a painful now that must be exorcised. “Enclave II-II” is as if after having collapsed there, we start getting comfortable and rearranging our environment. It’s not about exorcism anymore, but it’s a pact. It’s also a confession of a failure, the use of duplicity through witchcraft. Witchcraft as it is seen and practiced is a sort of differed suicide: using it is cheating, but also a self-sacrifice. And at that moment, I was there, so I went to talk to old healers nearby that work their craft the way their grandmothers taught them, from generation to generation. It’s about caring, knowing plants, constraining rituals, magnetism, etc. I went to see them, they gave me spells, they taught me things. I used these meetings.

For “Enclave II” I used three photographs. One of them (the evil) was a Russian photograph of a cannibalistic family going through starvation. The other picture (the spells) depicts an old woman on roller skates wearing ghosts’ veils. The last picture (death) is a photograph of a decaying corpse. I played my music staring at these pictures.

I recorded “Enclave III” before, but once finished, I hated it. I hadn’t gone through the right process, it wasn’t improvised as much, too disciplined. But afterwards, thanks to Cioran Records, we decided it could be added to II to make it a double album.

Q: The festival “L’Homme Sauvage” has been very important to you, right? It looks like live performances are an essential aspect of Camecrude. What is the live thing all about and what do you expect/plan once live concerts will be possible again?

Valentin: Yes, “L’Homme Sauvage“ was important to me. It’s exactly what I’m fighting for as an artist. Yan Arexis, Patrick Lafforgue from La Breiche, Stille Volk, etc. invited me for the first edition. At that time, Camecrude wasn’t really a thing. I improvised on the hurdy gurdy and with my voice on a popular gascon song I had modified and put together a few days before. It is at this occasion that I met Viqtor Turnngaq from Cioran Records and that night, Camecrude came to be.

On the third edition of the festival, we came back with a real performance. The two presences “the cursed anemia” we had tried on the Dark Ritual Nights performed their rites while I was playing, together with Lauren and Clément from Ginkgotuk, two drummers that play with me during concerts and on my last album. We get each other, what we create is strong and instinctive. Also, there was the National Orchestra of the Pays du Mat (a wizard state) that performed with us (drums and chaotic screams among the audience.

It’s hard for me to predict what is going to happen, I like the fact that each concert is unique. Things happen a few days before the event, depending on who’s available, what I want to do… We set everything up with Cioran Records so that something happens visually in addition to the simple concert.

There have been guests, like the great Berzerk from Sektarism Aux Feux De Bel. We exchanged ideas, told each other where we wanted to finish, he was free to do what he wanted, and we all adapted to what was going on in the moment. So it’s always done a few days in advance so that we don’t lose in spontaneity. Camecrude is my refuge where I can give up on interpretation and recitation, and I can be spontaneous. That’s what matters. Each time I must play as if it was something new that will never happen again. That’s what makes it more intense.

Our last gig was done on streamlive and is available here:

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 Norwegian dark folk / ambient band band Wardruna has released the title track of its upcoming studio album “Kvitravn” (translated: white raven) due out on January 22, 2021. The accompanying video was shot at various locations in Norway and Russia by Ragnarok Film, the same team responsible for the previous video of the non-album track “Lyfjaberg”, which was shot during a lockdown.

You can expect dramatic landscapes from a bird’s-eye view as we follow Wardruna founder Einar Selvik and singer Lindy Fay-Hella through the wilderness.

Wardruna founder Einar Selvik: “I am very excited to finally be able to share this song. ‘Kvitravn’ is a song that explores the traditions of animal guides and the symbolism and legends of sacred white animals, found in Scandinavian and other world.These highly regarded ghostly creatures – be it a raven, snake, bear, moose, reindeer, elephant, or lion – are seen in animistic traditions as prophetic, divine messengers and protectors representing renewal, purity and a bridge between worlds. Being fully aware of how rare it is to encounter a white raven, we knew from the start that this would be an ambitious and challenging task to perform. However, fate seemed propitiated, and the “impossible” puzzle piece fell into place as a gift given by divine intervention.”

About Wardruna

Wardruna was formed in 2003 by Einar Selvik along with Gaahl and Lindy Fay Hella.

Selvik and Gaahl were both previously members of Gorgoroth, appearing together on the album “Twilight of the Idols” and the live DVD “Black Mass Krakow 2004”. Selvik had also recorded with other projects including Det Hedenske Folk, Bak de Syv Fjell, Jotunspor, Sahg, Dead to this World, Skuggsjá, and Faun. Gaahl also recorded with Trelldom, Gaahlskagg, and God Seed.

They are dedicated to creating musical renditions of Norse cultural and esoteric traditions, and make significant use of Nordic historical and traditional instruments including deer-hide frame drums, flutes, kraviklyr, tagelharpe, mouth harp, goat horn, and lur. Non-traditional instruments and other sources of sound like trees, rocks, water, and torches are also used.

Note that the band also took part in composing the score for season 2 of “Vikings” along with Trevor Morris.

The band have released four full-length albums so far, the first three based on Norse mythology, the last based on the sayings of Odin from the Völuspá and other old Norse sources.

• “Runaljod – gap var Ginnunga” (2009)
• “Runaljod – Yggdrasil” (2013)
• “Runaljod – Ragnarok” (2016)
• “Skald” (2018)

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.

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Iconic UK post-punk/alt act The Membranes release an EP featuring two remixes of their song “Nocturnal” by goth rock/darkwave Goth DJ Kitty Lectro.

“Nocturnal” was originally released on The Membranes new album “What Natures Gives… Nature Takes Away” on June 7th this year. Having remixed artists such as Kommunity FK, Andi Sex Gang, Beauty In Chaos (Wayne Hussey, Simon Gallup and Michael Ciravolo) and more, Kitty Lectro adds a dance floor spin to “Nocturnal”.

Frontman and The Membranes founder John Robb explains why they chose to remix the song: “‘Nocturnal’ is our death disco dance with Pan, or our dark Dionysian dislocation of the senses that has been remixed to shadowy dance floor brilliance by Kitty Lectro. It is from our new double album “What Nature Gives… Nature Takes Away” and examines the beauty and violence of nature, in which we took our bass-driven post-punk and added choirs to it to create an epic brooding soundtrack to the theme of nature itself and its desperate struggle to survive the human race’s hell bent determination to destroy it.”

The Nocturnal EP will be available for streaming on all major platforms. You can here it right below.

Tracklist of the EP:

• Nocturnal (KITTY LECTRO Remix)
• Nocturnal (KITTY LECTRO Meow Meow Money Mix)
• Nocturnal (Album Version)

The Membranes will be on tour in Europe with Mark Lanegan Band in November/December.

About The Membranes

Formed in 1978 in Blackpool, England, The Membranes played classic bass-driven northern post-punk and were part of the same world as bands like Joy Division, Bauhaus, The Fall, Sisters Of Mercy, and Cabaret Voltaire, all inspired by the punk explosion of 1977 to launch their own idiosyncratic journeys. The band released a remarkable series of records throughout the ‘80s that combined their small town frustration with a love of heavy bass and distortion. This ultimately became a prime influence on such American noiseniks as Steve Albini, Swans and Sonic Youth.

The group reformed in 2010 at the request of My Bloody Valentine to play the All Tomorrow’s Parties festival, and have since made two albums, inspired by newer bands like Godspeed You Black Emperor, Mogwai, Ulver and Wardruna.

Membranes frontman/bassist John Robb is an acclaimed British musician/author/publisher and TV/radio commentator. He is the editor-in-chief of British music monthly Louder Than War and the author of the celebrated non-fiction work “Punk Rock: An Oral History”.

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.

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