In Helsinki, a band rooted in contrast and emotional duality has been carving out its place in the Finnish rock scene. The Vantages blend raw edge with delicate nuance, drawing inspiration from 60s guitar music, British indie rock, 70s rock traditions, and early 2000s goth nostalgia. The result is a sound best described as decadent love songs, where intensity and fragility sit side by side.

Formed in early 2020, The Vantages quickly moved from early writing sessions into a focused and collaborative project built around shared musical instincts and a strong DIY approach. Over time, they refined a style that balances grit and atmosphere, both in sound and lyricism, creating music that feels intimate yet expansive.

Since their formation, the band has established themselves within the Finnish rock scene, performing at major festivals such as Ruisrock, Helldone, and Tuska. Their debut EP arrived in November 2023, followed by their second EP, The Vantages II, in 2025. They are currently working on material for their debut full length album.

This week, I spoke with the band and Tim Mikkola about their journey, their values, and what drives them forward.

What inspired you to start making music and to form The Vantages? Was there a specific moment or influence of growing up in Finland that pushed you towards music?

Ever since I can remember, music has been the center of my life. I have no clue why, but I’ve always been enchanted by it all. I started playing guitar at 5 years old, followed by singing, drums, bass, and piano. I lived in a relatively small town as a kid and didn’t really have any friends who were into music, so there were no bands to join. I played all these instruments and had all these ideas for songs, but no one to do it with, so recording myself and figuring out how to make it sound nice was the natural next step for me. It was just magic to me, and still is. Later on, we met Anton through school. We hit it off, and he kept grilling me about starting a band together for years until I finally caved in. I’m really glad I did.

What does music mean to you personally? What inspires you?

I process my emotions a lot through music. It’s helped me deal with many difficult things throughout my life, and it acts as a sort of lifeline. That whole cliché of “music saved my life” ? Yeah, something like that.

Which bands and musicians have inspired you the most? What would be your personal Top 5 albums or artists, and why did you choose them?

Lately, I’ve been on a giant J-pop/rock and K-pop bender! I’ve been into stuff like Ado, YOASOBI, L'Arc-en-Ciel, Indigo la End, Aespa, and Taemin, to name a few. An all time Top 5 is an impossible task for me, but I can name 3 bands that really made a difference growing up:

1 - Arctic Monkeys

They’re my all time favourite band, period, and to say that Arctic Monkeys have been one of the biggest influences on me musically is an understatement at best. When I heard From the Ritz to the Rubble for the first time as a teenager, something just changed in me, and life was never the same. It’s nearly impossible to pick out a favourite album by them, but if I HAD to, I’d say Humbug (2009).

2 - The Black Keys

I remember discovering Thickfreakness (2003) and being genuinely unable to comprehend that it was recorded in the 21st century. I was just starting out recording stuff by myself at 13, was deep into oldies from the ’50s, ’60s, and ’70s, and that album served as an epiphany to me: “Wait, you’re saying you can still make things sound like that even today???” Which, years later, seems very obvious, but it certainly wasn’t back then. Lots of noise, distortion, just character for days. The later albums like Brothers (2010) bridged my love for soul, R&B, hip hop, and rock together in songs like Too Afraid to Love You, Never Gonna Give You Up, and Black Mud Part II. Just because of Dan Auerbach, I have a repro model of the Airline H78 made by Eastwood Guitars, which I love dearly.

3 - Queens Of The Stone Age

“Little Sister” was the first song I heard by Queens of the Stone Age. The guitars were all midrange and sounded like an angry V8 revving. I remember hating the guitar solo when I first heard it, only to later realize that Josh Homme is a genius. It’s just pure rock ’n’ roll. If I were to set myself on fire and drive a motorcycle off a roof, I’d do it to Queens of the Stone Age. They got me into fuzz and low tunings. We tune our guitars down to C standard, and Josh Homme is exactly the reason why.

Are you also inspired by musicians from the Nordic or Baltic States region?

Children of Bodom and Hurriganes are the two Finnish bands that made me want to learn guitar. I spent countless hours practicing that stuff when I was a kid! I don’t think I’d be a musician if it weren’t for Alexi Laiho.

Since you are based in Helsinki, do you feel that the city or the Finnish atmosphere influences your music or lyrics in any way?

Maybe it was the lack of a scene I could identify with or be a part of. I’m pretty alone with a stack of my favourite records and foreign media, but I genuinely enjoy not being categorized or put in a box that way. I have the space to float around in my own little world.

Why do you think rock music is still important for young people in Finland today?

Rock and heavy metal are quite ingrained into our DNA; we’re pretty good at it. Other than that, I guess it’s the age-old “band of misfits” type of thing.

Is Finnish identity important to you as an artist? Has Finnish culture, folklore, or the local rock scene influenced your music or artistic image in any way?

To be honest, not much... Then again, I guess that’s an extremely Finnish way of putting it. The identity and culture is a very internal and understated thing, which is not to be confused with a lack thereof.

Rock and punk historically have roots in social and political expression. Many alternative bands use their music to reflect on society. Do you think music should have a political or social message, or do you see it more as emotional and artistic expression?

All music is political regardless of how you portray it. I gravitate more toward the emotional side of things rather than the Rage Against the Machine stuff, even though they’re an amazing band.

How does the writing process look for your band? Any secrets for writing such amazing lyrics?

It usually starts with me making 30-60 sec instrumentals by myself and then sending them out to the boys. The ones we all get excited about get put on the to-do list and are then worked on in later sessions until they’re done. I like to work alone for the most part. The guys trust me a lot and give me space when I need it, and I really appreciate that.

I have a fierce love/hate relationship with lyrics. They’re usually the last thing I work on; it’s the most time-consuming and draining part of the process for me. My inner critic has an extremely carrying voice and we get into arguments routinely. Also when dealing with heavier personal themes a lot of crying is usually involved during the recording process as well.

I don’t know if there’s any secret to it, but my tip would be to settle less instead of settling for less. To quote Bukowski: ‘‘Go all the way. You’re better than “fire desire”.

Is it difficult to be a young musician in Finland today? What kinds of challenges or barriers exist for bands?

Bands can be quite expensive and not at all as accessible as other ways of making music. You need instruments, amplifiers, effects, a PA, and rehearsal space. Recording bands is also a hurdle. If you don’t have the gear and know-how to do it yourselves, which already isn’t exactly free, your only other option is to book a studio with a recording engineer.

We’re in a fortunate place in the sense that multiple people in the band know how to work a DAW and have professional experience. I don’t think we could’ve gotten to where we’re at right now if I weren’t able to produce and engineer our stuff, and have multiple helping hands throughout the process.

How would you describe your listeners? What is the most important thing for your listeners? What do they expect from you?

They’re very lovely people! I feel very supported and appreciated just expressing myself freely. I don’t feel comfortable speaking for other people, but I like to think that as long as what I create is genuinely meaningful and exciting to me, then it can be that to others as well. I love the fact that there are people who have their own attachments to the songs I’ve written; it makes it larger than just me or us as a band.

As far as expectations go, I guess people are waiting for new music to which I have good news as we’re currently working on an album!

How would you describe the Finnish alternative or underground rock scene right now?

I don’t know if I’m all that qualified to answer this, but I guess it’s very much alive. There are lots of bands playing all kinds of music. I just don’t get out much these days; especially when actively writing, I tend to stay inside my bubble. The rap and pop scene is super cool though at the moment, there’s some really out-there stuff going on.

Best concert, gig or most memorable performance ? Can you tell more about it?

I saw Taemin live last year and things haven’t been the same after that... I’d listened to SHINee before and some of his solo stuff too, which I enjoyed, but nothing could’ve prepared me for the live experience. My jaw dropped from the nosebleeds down to the GA floor the second he walked out on stage, and it just got left there for the rest of the show. It’s hard to put into words.

Of the shows with The Vantages, I would say the most memorable one was our EP release show last September. People from around the world had come to see us. There were people from Japan, Germany, the UK, Estonia, Poland, Belarus, Spain, and more. I remember us playing “You” and there was a little sea of swaying phone flashlights, with people singing along. I was so close to sobbing on stage but managed to keep it together until after the song, when I could go backstage for a little bit as the guys played an instrumental next. I remember just sobbing to our makeup artist Laura and my girlfriend Iida, saying something about it being the best day of my entire life, and then getting back on stage only to sing “Love/Loss” by myself to the audience immediately after. Emotions were definitely felt that day. Also, there was a mosh pit during “Leather Jacket,” which was hilarious.

Do you like grunge music? Or maybe contrasting genres like jazz, classical, punk or folk music?

I love Nirvana to bits, I had a whole phase way back when. I wore my mom’s old blue Levi’s that I messed up with a cheese grater, a crusty flannel shirt, a beanie, and smoked menthol cigarettes I nicked off my dad in the garage while listening to Nevermind. Grunge beyond Nirvana never really did anything for me though. I can appreciate stuff like Pearl Jam and Alice in Chains, but they’re just not for me.

That being said, I like a lot of things. I grew up listening to a bunch of ’90s East Coast rap like Mobb Deep, Nas, The Notorious B.I.G., Gang Starr, etc. The majority of the samples were from jazz records, so it was easy to veer off into stuff like Herbie Hancock and Miles Davis, which then tripped me into a rabbit hole of classic soul and R&B. My oldest brother put me onto a lot of great music; I got all that from him.

My love for anime and Japanese video games got me into a lot of great music as well, which is the main stuff I’ve been into the most lately, like I mentioned earlier. K-pop is extremely cool too; I can’t get enough of it.

I could waffle on about this for pages upon pages…

How would you like The Vantages to be remembered in music history?

I think every musician dreams of being remembered as something great, influential, and unique, but I’d be happy just being able to have created something that had real emotional value to people. I hope to create something beautiful and inspiring, much like the many artists that gave me reasons to go on when it seemed like there were none.

Are there any plans to travel abroad and have a tour in the UK, for example? What is the main goal of the band currently?

Right now, we’re working on our debut album and we plan to tour abroad with it to the best of our ability. I can’t say too much right now, but the UK and Japan have been two of many places that have been on the table. We can’t wait to get out there and meet all of our fans; there have been so many requests for shows around the world. We’re trying to hit as many places as we can.

I’m really, really excited for the album. It will be very different from the first two EPs we released, both musically and visually. Again, I can’t say too much right now, and I apologize for being so mysterious, but there’s a good clue or two in the interview about the direction we’re heading in next.

Follow the band on their channels:

Instagram: https://www.instagram.com/thevantagesofficial/
Facebook: https://www.facebook.com/thevantagesofficial/?locale=en_GB
YouTube: https://www.youtube.com/channel/UCIiD4O35_lDfv6pOrAMc4Tg

Griefgod are part of a growing wave of Baltic death metal, bringing a direct and uncompromising approach shaped by both old school influences and a modern sense of intensity. Based in Vilnius, Lithuania, the band has developed a sound focused on weight, clarity, and raw expression, reflecting their shared commitment to pushing deeper into heavy music.

The project began in 2016 under the name GILZEH, with their 2020 EP Torture introducing them to the Lithuanian metal scene. In 2023, following lineup changes and a clearer artistic direction, the band re emerged as Griefgod. Since then, they have performed on major stages, representing Lithuania at Wacken Open Air in Germany and appearing at Kilkim Žaibu in 2024. Their debut album Deterioration combines classic death metal grit with a more contemporary edge, while their recent single Traitor’s Throne continues to refine and expand their sound. This week, I spoke with with Max and Karolis, about the band’s evolution, identity, and what comes next.

Firstly, what drew you all to become musicians in the first place?
How did Griefgod come into existence?

Nothing but genuine love for the art. The idea of creating sounds that can invoke genuine emotions within the listener is mesmerizing, and though many start off as listeners of this craft, some choose to become its creators. Griefgod didn’t start as Griefgod; it was a different project by its ex-guitarist, called Gilzeh, with different members. It took us a very long time for some musicians to come and go until the current members were a perfect fit and had a common vision. Officially, Griefgod started when we were finalizing our album Deterioration.

What does music represent for you on a personal and emotional level?

It’s almost a completely universal language that everyone can understand. We all have that relatable song that causes us to feel a certain way, the one we come back to. Like any other art piece, music can make you feel a certain way, but in my opinion it has the tightest grip on your emotions when you listen.

Which artists or albums have most influenced your sound?

I don’t believe we have any direct influences, rather a general understanding of what we’re aiming for. We just write stuff that appeals to everyone in the band, but death metal in general is the main source of inspiration, I think.

How would you describe the Lithuanian metal scene today? Do you feel part of a local underground, or more connected to a broader international scene?

It feels less underground than it was before, as just recently metal nominations have become a part of the yearly M.A.M.A awards (national music awards), and slowly but surely there have been more metal gigs on larger local stages rather than underground club or bar venues. Metal as a genre doesn’t appear to be an underground thing in Lithuania; a very large portion of Lithuanians listen to it, support it, and attend gigs, which is very nice.

It’s difficult to say about the international scene as a whole, but a significant portion of our merch has been bought from abroad, not just in Lithuania, so there are listeners out there.

Are there any Estonian, Latvian, Lithuanian or Finnish bands or artists that have inspired Griefgod?

Our guitarist Karolis can answer this one: Estonian band Kannabinöid inspires me with their approach to soundscaping and overall energy. Another Estonian band, Intrepid, also makes really inspiring compositions. I love the sheer bravery and daring in their approach to riffage.

Latvian band Deodium can really inspire with really cool unexpected twists in their music, and it is very unique especially live. I also want to mention the Lithuanian band Aortes, since I was affiliated with them and to this day I carry that “inheritance” of a dark, gloomy, “don’t rush anywhere” vibe. I love that in their music.

Lithuanian band Protocol blew me away with their raw approach to live music. Super simplistic and very high octane energy from the whole band, especially their drummer and vocalist. Also, you absolutely must hear what Lithuanian band Stranguliatorius can do with their old school, somewhat careless but completely genuine approach to music. They sound super real on both recordings and live.

In general, we could name many more, but we would end up with a whole novel here. These are the ones that came to mind.

Is your Lithuanian identity important for you? Has local culture, environment, or atmosphere shaped your sound or themes?

It’s important in a sense of being proud of our roots, but our overall identity is not influenced much by our nationality. Nor do I believe it’s influencing our music either.

When performing live, do you notice differences in how audiences connect with your music in different countries?

Of course. In Lithuania, for example, gigs tend to be very active, lots of dancing, moshing, headbanging, just generally very raw energy. Abroad, without being specific, listeners sometimes tend to be more introverted in their feedback, rather grooving than starting three person mosh pits, and then showing their support by purchasing your stuff or taking pictures together. It is just a local thing in how people prefer to show that they liked your performance.

Why do you think darker forms of metal music, resonate with listeners today, especially younger audiences in Baltics?

I don’t necessarily believe metal is inherently darker, but I would say it is a bit more raw and authentic, which seems to be less common than before. Usually it starts with fascination when you discover something like this. In my experience, some get a little scared at first, and then it grows into relatability.

With younger audiences especially, they often crave relatability, acknowledgement, and a sense of belonging, and the metal community as a whole is very welcoming. It never strips them of their efforts in search of their identity or expects them to appear a certain way.

What challenges have you faced as a band emerging from Lithuania, both within the local scene and internationally?

Most of our activities go through smoothly, to be fair, maybe except the curse we were put under where every single gig we play we have to deal with an unforeseeable technical problem, which has now become a routine thing. Maybe one major challenge we had was understanding each other’s strengths and weaknesses within band responsibilities. It took a very long time for everything to feel right. Now someone is responsible for merch, another for social media, another for hardware, etc. That period was a little stressful.

How would you describe your audience? What kind of listeners are drawn to Griefgod’s sound?

10/10, best metalheads with awesome fashion, best energy, and good music taste. I am being serious, but to be more specific, it is hard to describe such a diverse audience, as we do not really have an age bracket, genre, or subgenre that we directly appeal to, nor do we really try to.

If you go to a Griefgod concert though, there is a high chance you are generally a cool person, and I guess that is who we draw in with our sound.

Looking back, which live performance has been the most intense or memorable for you, and why?

It’s probably going to be the Wacken Metal Battle at the festival itself. We had never performed on such a big stage, abroad, and with a name like Wacken attached to it as Griefgod, so it was a fascinating experience. Especially for our guitarist Aistis, that was his sixth gig ever, ever, not just with Griefgod.

The whole performance went fine, but the travel to Hamburg, the brutally contrasting local weather, the amount of audience that came to listen, the size of the stage, our role there, and the timer on the stage showing us how much time we had left, all of that made it a very memorable event with its own challenges and adventures. I think that was one special gig.

Performing at Wacken Open Air is a dream for many bands, how did it compare to your expectations?

We had a very rough start when we got there, with some communication problems and road issues, etc. But being a performer at Wacken Open Air was something else. We got our performer badges and a lot of VIP benefits at the biggest and most recognizable metal festival, come on.

It wasn’t what I expected in the sense of just how genuinely massive and awesome it was.

Are there any trends or clichés in modern metal that you deliberately avoid?

Not purposefully, but we sort of do. Bass drops, for example, I believe we have one in Traitor’s Throne, but it is very subtle. When we write music, we do bring up the point if something sounds “cheesy,” but it is usually not a big deal. I can’t really come up with many recent clichés in modern metal in general, so maybe I am completely wrong and we are full of those.

What is your songwriting process like? Do you come with ideas individually, or write as a band together in the same room?

Usually the starter is our guitarist Karolis, who comes up with a riff or general progression that we then join in on and expand upon. Recently Aistis has also started to write a lot, so now there are two of us who begin the writing process. Once the general idea of the song is agreed upon and we are happy with it, we individually add our tweaks and ideas as we keep rehearsing it. I finish it off with the lyrics and how the vocals will sound once the instrumentals are settled, to make the song speak to its listener.

Do you find inspiration outside of metal, perhaps in ambient music, film, literature, or other art forms? Or genres like grunge, jazz, punk, rock, classical etc.?

Well yes, if you make art you sort of draw inspiration from everything that happens or you get exposed to. Sometimes it just requires time to materialize properly.

What can fans expect next from Griefgod? Any upcoming releases or plans to perform in the UK or across Europe?

We recently finished our latest song, Despot, and have several unfinished songs cooking, so expect a banger album. It was only by the end of writing our album Deterioration that we all got closest to a shared vision of what the sound should be, as Deterioration was still a very experimental phase where we were figuring things out.

We have some plans abroad, but some are to be announced and I don’t wanna spoil it yet :)

Follow the band on their channels:

Instagram: https://www.instagram.com/griefgod_official
Facebook: https://www.facebook.com/Griefgod
YouTube: https://www.youtube.com/Griefgod

There’s a cold, melodic force emerging from Northern Finland, sharp edged yet emotionally driven. I Am Your God are part of a new wave of Finnish metal, fusing traditional Scandinavian heaviness with a modern, polished intensity. The line up features Julius on vocals, alongside Matti and Johnny on guitars, Joonas on bass, and Atte on drums, together crafting a sound that balances melody with aggression and precision.

Since their 2020 debut The Resurrection, the band has steadily built momentum, performing at major Finnish festivals such as Tuska and Nummirock, as well as shows across the UK and Germany. Now, with their third album △ receiving a strong response, they step into a more refined and confident phase. This week, I spoke with the band about their journey, evolution, and what’s next.

Firstly, what inspired you all to become musicians, and how did I Am Your God form back in 2018?

We have all been playing music since we were kids, inspired by hearing heavier music and seeing musicians in our families and friend circles. We all had a few years’ break from actively doing music, and for some of us it was several years. In 2018, Julius felt that the music torch needed to be lit once and for all, and asked Johnny and Matti to form a band with him. Shortly after that, Joonas and Atte joined the band, and I Am Your God was completed.

What’s something fans or new audiences might not know about I Am Your God?

At first, we agreed to form the band as a cover band, just to have fun and playing old classic rock songs together, and we didn’t plan on making our own music. The table turned pretty fast when we noticed that we are heavy metal boyz, and we have ability to create our own music.

How would you describe the current Finnish metal scene? Has it changed since you first started out?

The Finnish metal scene is getting bigger and better all the time, and there are lots of super good rising bands. When we started, there weren’t that many active bands, especially in Northern Finland, where our band was founded.

Do you find inspiration in other Finnish artists, or perhaps in bands from the Baltic metal scene?

Of course, and we are sure that you can feel the Northern inspiration in our band’s DNA. Finnish and Swedish metal bands have always been especially close to our hearts. To be honest, we are not that familiar with the Baltic metal scene, but it would be a great experience to tour there and meet Baltic metal bands.

How important is Finnish identity to you as a band? Has the local culture and environment influenced your music or image?

Of course, it’s important to us. We think you should be proud of your roots and where you come from, and it’s easy to feel that way about Finland. There is something unique and exotic about the Northern darkness and coldness, and it naturally affects our musical output.

As a rising band from Northern Finland, what challenges have you faced in breaking through both locally and internationally?

We have to do everything ourselves. No one is coming to drag you out of your garage; you have to take action and be in the driver’s seat. The game is already on hard mode in Finland, but internationally it’s on extreme mode. Thankfully, we’ve been able to make good connections and meet the right people in the scene who want to help us and work with us.

How would you describe your listeners? What do you think draws fans into the world of I Am Your God?

Our listeners are THE BEST! Our live shows are very interactive with the audience, and wherever we go, our fans seem to be active and very supportive of us. We are super grateful for that!

Why do you think younger audiences are drawn to metal, and why do you believe the genre is important in the Baltics?

Metal music has something very primitive in it, and it gives a way to feel and let out a very large scale of different emotions. Every genre, of course, has its own strengths and its own ways of expressing itself, but metal music does it in a very extreme way compared to softer genres.

Looking back on your live shows, which performance stands out as the most memorable, and what made it so special?

Tuska Festival 2024 has been one of the highlights, as well as Summer Breeze 2023. Also our small UK tour in early 2024 was a big success and people were welcoming us with so open arms that it still warms our hearts.

What does your song writing process look like? Do you tend to write collaboratively in the same room or bring ideas individually?

It has been going the same way since the beginning: Matti and Julius make demos, often separately but sometimes together. Sometimes the ideas are smaller, for example only a chorus, and sometimes they are almost finished song structures. Then everybody adds their ideas to refine the songs and arrangements into their final form. Matti is the one who leads the production of the songs, and we often make the final tweaks during the recording process. Julius writes most of the lyrics, but Matti and Johnny also contribute their lyrical ideas. Usually, the music comes first and the lyrics follow on top of the compositions, but Julius also keeps his own notebook of lyrics constantly running in the background.

Outside of metal, do you find inspiration in other genres or unexpected sources? For example, grunge, classical, or even other type of art?

You can find something in every genre; the genre doesn’t matter when your ear sticks to an inspiring melody, production, lyrics, or rhythmic elements. As a songwriter, you have to keep your mind open and observe all kinds of music, and of course life in general, to get inspirational sparks here and there.

What can fans expect next from I Am Your God? Maybe more performances in the UK or Baltics?

We are working very hard to get more shows into our calendar, especially abroad. In 2026, we are releasing a cover EP called “Foregods” to pay homage to the biggest pioneers of the metal world, and in 2027 we will continue releasing original music. We are, of course, evolving all the time, album by album, and older fans will also get some surprises in our next chapter, that’s for sure.

Follow the band on their channels:

Instagram: https://www.instagram.com/iamyourgodband
Facebook: https://www.facebook.com/iamyourgodband/
Website: https://www.iamyourgodband.com/

Hanging Garden are part of a lineage of artists who embrace evolution over expectation, crafting music that feels both deeply rooted and constantly shifting.

Formed in 2004, this Finnish seven piece began their journey immersed in heavy, doom oriented metal, building a sound defined by weight and atmosphere. Fifteen years, six albums, and numerous line-up changes later, their identity has transformed into something far more expansive. Today, their music leans into a melodic, contemporary direction while still holding tight to the emotional gravity of their origins. At the core of their sound is a rich interplay of texture and mood layered guitars, haunting melodies, and a sense of introspection that pulls listeners inward. Drawing inspiration from a wide spectrum of music and art, Hanging Garden create something immersive rather than immediate, balancing heaviness with beauty in a way that feels deliberate and refined.

This week, catch an interview with Toni Hatakka, offering insight into the band’s evolution, influences, and creative process. A big thanks to the band for opening up and sharing a glimpse behind the layers of their sound, and for taking the time to reflect on the journey that continues to shape their music.

What inspired you to start making music and form Hanging Garden?

Hanging Garden was formed by Matti Reinola and Ari Nieminen, I think. Neither of them are in the band anymore, but I remember there being talk about them wanting to combine the styles of their respective bands. Personally, I grew up listening to Black Sabbath, Dio, Rainbow, and later My Dying Bride, Type O Negative, and the like. I grew up in a musician family, so the incentive was there. My first band was a gothic doom band as well, strongly in the vein of early Paradise Lost, called Raakku. I think it’s a combination of many things that led to its formation.

When someone listens to a Hanging Garden track, what emotions or atmosphere do you hope they experience? What does creating music mean to you personally?

I hope they find some meaningful introspection. I hope the listener is able to dive into their consciousness and experience something. I think art in general is always so subjective that I don’t dare to presume I could somehow dictate what one should experience, but I hope the resonance I feel when creating is transferred in some way, connecting us. Creating music is kind of a necessity for me. Currently, I am on parental leave with a small baby, and while I enjoy it a lot, I find myself feeling a bit starved because of how sparse the creative sessions are currently. Creating is an endless spring of joy and purpose, something I couldn’t be without.

Which bands or musicians have had the biggest influence on your sound? Could you share your personal Top 5 albums or artists and explain why they’re meaningful to you?

This is always a tough one, and changes a lot from time to time! But, I would say my biggest influences in general are as follows (in no particular order): Opeth gave me the revelation that brutality can be combined with delicate grace and beauty in such a natural way. Michael Jackson was the main artist I grew up with in early childhood, and the playful and masterful production and intricate compositions stuck with me, I think. Yasunori Mitsuda (and perhaps Nobuo Uematsu and Akira Yamaoka) came to me through video games, and the compositions blew me away. Mitsuda especially has so many non-diatonic and theoretically wild ideas that work so naturally that I try to implement them in my own music quite a bit. Type O Negative immersed me in the gothic aesthetic, and Steele made me embrace the bass/baritone color of my own voice (that sometimes frustrates me, as I cannot belt high notes like Dio or many contemporary metal singers). Black Sabbath was the beginning of my path into doom. I think this is quite self-explanatory.

Do you find inspiration in the metal or alternative scenes of other Nordic or Baltic countries? Are there regional artists that have shaped your music or vision?

Of course, when I reached high school age, I discovered the Gothenburg sound in a big way, as well as more prog and avant-garde stuff like Opeth, Arcturus, Borknagar, and the like. They had, and still have, a huge influence.

Why do you think doom, death, and melodic metal remain important or relevant for younger audiences today in Finland?

There seems to be a renaissance of the old-school death and black metal stuff going on! Teens are finding these very non-polished productions and carrying on the legacy. Also, owning your music media is becoming relevant again in this age where everything is a subscription service. Young bands are embracing CDs and C-cassettes once more. I think the world’s political and environmental state also makes young people gravitate toward the therapeutic darkness of metal music.

How much does your Finnish identity influence your music? Has local culture, language, or the underground scene shaped your sound or aesthetic?

I’d say it’s the darkness, cold and harsh seasons and our folk and schlager music that naturally bleed to our creations as well.

Do you see your music as carrying a political or social message, or is it primarily a form of personal and artistic expression?

I am very political, as is music inherently, in my opinion. Still, Hanging Garden’s political message has mostly revolved around environmental issues since the beginning through Matti’s lyrics. For a long time, I wanted to carry on his vision. Nowadays, Riikka and I mostly write about introspective things that are, of course, affected by politics, but not formed by them.

What challenges have you faced as a band navigating the Finnish and broader Nordic & Baltic metal scenes?

Oversaturation. It’s very difficult to rise through the insane diversity of bands here.

How would you describe the typical Hanging Garden listener?

They seem to be nice and thoughtful people! I am awestruck time and again by how little shit we get in any comments or social media. Our most vocal fans seem to be middle-aged goth-inclined people of all genders.

How would you characterize the current metal and alternative scene in Finland?

I’m sadly not very well versed in it, but I think it is vibrant and virile and diverse.

Which live performance has been the most memorable or meaningful for the band so far?

For me it was a very “regular” show at Tampere’s YO-talo a few years back. Tampere as a city has a vibe of its own, and it is lovely.

Is there a song, genre, or artist you just can’t listen to anymore or dislike?

Die Antwoord was a favourite band of mine for a long while, but after I found out how sick the artist duo is in their personal lives, I just couldn’t listen to them anymore. Otherwise, I don’t think so…

Who are your biggest influences in music, and are there artists from other genres like rock, electronic, folk, jazz, punk, goth or classical, that unexpectedly inspire you?

I would name the Japanese composers once more, and perhaps add Joe Hisaishi to the list.

How would you like Hanging Garden to be remembered in the music history? Perhaps as creative and brave?

I would like to also think non-conforming, but even the wildest ideas usually have fit quite well to our typecast genre, so I’m not sure if we actually are…

Are there plans to tour internationally, for example in the UK or elsewhere?

We would love to, but with the amount of young offspring the members currently have, it might take five to ten years before we can tour to a significant degree. I think fans can expect us to make quite frequent releases again! Also, hopefully, a lot of live stuff and videos, as we can’t really tour.

Follow the band on their channels:

Instagram: https://www.instagram.com/hanginggrdn/
Facebook: https://www.facebook.com/HangingGardenOfficial
Youtube: https://www.youtube.com/@AgoniaRec

There’s something stirring in Vilnius, heavy, atmospheric, and unfiltered. ERDVE are part of a wave of artists pushing extreme music into more introspective and unpredictable territory, blending experimental hardcore and sludge into something intense and emotionally raw.

Formed in 2016, the band quickly established their identity within heavy music. In 2017 they signed with Season of Mist, who released their debut album Vaitojimas, setting a strong foundation with dense, atmospheric sound. Their second album Savigaila, released in 2021, took a more abrasive and unpredictable direction, focusing on intensity and dramatic storytelling. ERDVE are also known for performing in unconventional spaces, including St. John’s Church in 2019 and Lukiškės Ex Prison in Vilnius, challenging expectations of where heavy music belongs. This interview also touched on the expereince of such performances. After Savigaila, the band stepped back to rethink their creative direction, leading to their 2026 release Epigrama, a more cohesive and deliberate work where music, lyrics, and production are closely unified. On May 30, everyone is invited to ERDVE’s new album “EPIGRAMA” presentation concert and exhibition at the Lithuanian Composers’ Union house in Vilnius (A. Mickevičius St. 29).

The lineup features Vaidotas Darulis on vocals, guitar, and production, alongside Adomas Varnelis on guitar, Valdas Voveraitis on drums, and Karolis Urbanavičius on bass, together creating a sound that feels both controlled and on the edge.

This week, I had the chance to speak with composer and lyricist Vaidotas Darulis about the band’s inspirations, personal reflections, their identity, and what lies ahead.

What inspired you to become musicians and how did Erdve come together as a band?

Erdve was first conceived around 10 years ago, as a specific musical project without an intention of playing live. I have written and recorded the first batch of music that I couldn’t realise in my previous bands I was in and released a limited edition cassette of our first album via local label GHIA. The local response to our music was very positive so I decided to invite some of my dear friends to continue Erdve as a band, things quickly kicked off and we eventually signed with Season of Mist to release our debut album ‘Vaitojimas’.

Inspiration to make music comes from the very deep love and passion for it, I don’t remember anything else that drove me through early life that much and it still does. Our lifestyles, social circles, interests were always built around the music scene. Making music is our favourite way to communicate our worldview and feelings in a unique way.

What does music mean to you on a personal level, especially within a project as intense and boundary pushing as Erdve?

It’s definitely a relentless force that draws me in, affecting every single aspect of my life. Despite any attempts where life tries to detract me from creating or caring about music, I find myself pulled back in a very aggressive and even harmful way sometimes. Many life choices were made in consideration of how it changes my relationship with music or ability to perform in a band. After many years of doing this, I have only recently realised how significant music making was in building my character as a person. It’s me who is intense and looking to push boundaries, the music is the result of such reality, not the other way around.

Which artists or albums had the biggest impact on shaping your sound?

I’ve had this question many times and have always been dropping names at most, but by now, I can only say this - every artist that I draw inspiration from, not necessarily in music, no matter the genre, gives a certain feeling that I find myself immersed in. It can be absolutely anything, even a short sample from a random song might impact or shape the sound if I feel something while listening to it. Sometimes it can just give me an abstract idea for the sound design, sometimes it can give a whole feeling that I will later try to recreate. I don’t wanna sound smug or anything, but I do literally get inspired randomly. I could compile the most versatile playlist of everything that I find significant, ranging from pop, metal to obscure sigilcore, trap, deathcore that in one way or another has inspired our writing. I am currently listening all day on repeat to “iiO/Nadia Ali - Rapture” from 2001, and believe it or not it gave me an idea for a breakdown.

How would you describe the Lithuanian music scene right now? Do you feel more connected to a local underground, or to a wider international experimental scene?

The Lithuanian music scene is definitely growing and the community is more collaborative than ever, there is also a noticeable new generation of bands that might surprise us in the future when they establish themselves and find their own voice.

We’ve been in our local underground scene for most of our lives and we know so many people so it’s impossible to not feel connected, but we are also really looking forward to kickoff wider globally with our new array of music that we are about to release and possibly widen the geographic scope of our audience.

Do you draw inspiration from other Lithuanian, Estonian, Latvian or Finnish artists at all?

I was inspired by a few local Lithuanian and Baltic scene bands when I was experimenting in the early years. Tesa and Talbot were my favourites that I was actively engaged in listening to and going to shows. I am not sure what those bands do right now or if they are still active though, it’s been a while since I’ve seen anything new from them (great chance to check them out again!). As for Finnish artists, I’d have to check which ones are from there, I might not even realise where the band is from and still be a fan.

Is Lithuanian identity important to you? Has the local environment, history, or culture influenced your sound or artistic direction?

Yes, it’s very important, hence why we use our language in our music. Our country has a unique worldview, rich history and gives a sense of belonging (especially after regaining our independence). All these things have shaped us as people and to be honest it’s even difficult to imagine it differently, we are the products of our environment, but we are also driven by curiosity and expression, therefore, by embracing that, we believe that our music has potential to offer something new and interesting to the world.

Why do you think metal/alternative music remains important for young people in Lithuania and the Baltic region today?

I am not very sure about the accuracy of this statement, but if it is, then I believe, based on my conversations with younger relatives, that the cycle of culture has turned around and being different is relevant again (unfortunately with all its drawbacks like bullying in schools). Being an underdog or an outlier makes you want to seek comfort with the like-minded and alternative music culture was always a refuge for that. From my own perspective, I find a lot of that same excitement in more different genres like rap artists intertwining with metal imagery or samples. I recently went to a SCRLXRD show in Warsaw, and having a mostly very young ALT crowd there, the atmosphere was similar to what I used to experience in metal shows in my teenage years.

You’re known for performing in unconventional spaces, like St. John’s Church and Lukiškės Ex-Prison in Vilnius. What draws you to these kinds of venues, and how do they shape the performance itself (the way you approach your sound, setlist, or interaction with the audience) ?

Usually the idea is being dictated by the actual location and terms of access. We are looking for ways to make it work via our social circles which is key to make something like that happen. Though not every unique location that is available is suitable for a good concert, so we do consider how the space affects our performance, the sound etc. It’s always a technical challenge that we leave for the sound people to solve. You mentioned the setlist - yes, that’s an important aspect because we wouldn’t want to play only dense and fast songs in a hall with 15 seconds of natural reverb, it would just sound like mush. We have our upcoming album release show in the local ‘’House of composers’’ which is a venue mostly for classical artists or choirs so we are currently in progress of making the best possible setlist to accommodate the space and provide a pleasant experience for the listeners.

What challenges or barriers have you faced as a band operating within Lithuania?

Well, we definitely have faced some considerations when we had touring offers, but to be honest, everything is solvable so I’m not keen on complaining about logistical issues. Other than that I’d say the first barrier that you have overcome is yourself and establish goals and expectations. If the limits are reasonable then it’s solely up to you on what you want and how much you want it. What I’m trying to say is that the past challenges that come from your geographical location are now obsolete and there are different ways of operating, you just have to be good at what you do and stick to it.

How would you describe your audience? What kind of listener connects with Erdve’s sound and live experience?

We have a lot of people reaching out about how they feel about our music, which is also surprising because they often do not understand language. Sometimes it’s on a deep level, other times people just like the energy and atmosphere. We have also noticed that many gym bros really enjoy our music as well especially in the Poland, Czech-republic area.

I imagine this might slightly change once we release our new album ‘’EPIGRAMA’’ which sounds different from what we’ve done before, so I’m very curious about audience reaction after the release.

Looking back, which performance stands out as the most memorable or transformative for you, and why?

Definitely the ones you’ve already mentioned (church and prison). Both experiences were very wholesome and people seemed to appreciate such events more than regular gigs. I understand that a good band is able to make a great show anywhere, but how unique architecture enhances that experience is just undeniable. Since they are both fully available on Youtube I’d just recommend watching them both, we tried to capture the atmosphere as accurately as possible.

Are there any clichés or trends in modern metal or experimental music that you consciously try to avoid?

Difficult to answer this question without sounding like an asshole, there are definitely many things that make me cringe into a fossil when I hear or see something, but I do appreciate where that comes from so I’d rather just not engage or comment on that. One thing I can say, it’s very easy to notice and appreciate when people do it seriously and from the heart, like they live by it. So I’d say the trend of ‘fake it till you make it’ approach doesn’t really fly for me.

What does your songwriting process look like? Are ideas generated individually, or you come together in the same room as a band?

One thing that me and our other guitarist Adomas are more passionate about than writing music is sound design. We spent hundreds and hundreds of hours last year in the studio working, re-working, mixing, re-recording songs, structures, layering, sampling. The songs are compiled by obsessively sitting in front of our studio monitors. Half of our creativity comes from messing around in the production/mixing process as we record straight into our crafted mixing template. We later adapt those ideas into the ‘’live’’ format with the whole band.

Outside of metal, do you draw inspiration from other art forms, architecture, film, literature, or even physical spaces themselves? Maybe some contrasting music genres like grunge, rock, jazz, classical, punk etc.?

I have briefly answered this already in the previous question about inspiration, so yes. I could name something from every possible genre that has attracted my ears in one way or another. Architecture is also a big part for me, because I work as an architectural photographer, so the built environment, exploration, spaces, human interaction with form, all that good stuff is deeply embedded in how I perceive everything, music as well. A song is the same - a structural collection of layers that correlate with each other in harmony to create a feeling and drive.

What is your dream venue, festival or country you would like to perform at?

Roadburn, please, click reply to my emails that I’ve already stopped sending you years ago!

On a serious note, I’d love to play Harpa Opera house in Reykjavik or the Elbphilharmonie in Hamburg, nothing is impossible!

For a more realistic choice, we’d love to play more in-door festivals like Arctangent in Bristol, or Amplifest in Porto.

What can listeners expect next from Erdve?

You can expect way more music this year even after the album release since we’ve been totally on fire with our studio work, there’s a lot left to be said and this new album is just a start for our newly found creative clarity.

Follow the band on their channels:

Instagram: https://www.instagram.com/_erdve_/
Facebook: https://www.facebook.com/erdvelt
Youtube: https://www.youtube.com/@seasonofmist

May is a month of spring festivals, energetic concerts, and historical milestones for music lovers in Northern Europe. For musicians and fans of metal, rock, and experimental music, it is a month packed with performances, album releases, and cultural events in Estonia, Latvia, Lithuania, and Finland. In this post, we explore May’s key releases, festivals, gigs, and notable historical moments in the Baltic and Nordic music scenes.

May Releases in Baltic and Nordic Music

May has historically been a vibrant month for metal, rock, and indie releases:

• Nightwish – Wishmaster (8 May 2000)
  Nightwish dropped their third studio album, Wishmaster, on May 8, 2000, in Finland under Spinefarm Records. The album swiftly climbed to the top of the Finnish charts, achieved Gold status within just a month, and earned the title of “Album of the Month” from the German magazine Rock Hard.

• Amorphis – Skyforger (11 May 2009)
  Finnish metal legends Amorphis released this album, blending Finnish folk themes with progressive metal.

• The 69 Eyes – Death of Darkness US (2023) & The Chair (2001).
  The 69 Eyes released the physical US version of their album Death of Darkness [Death of Darkness is the 13th studio album by Finnish gothic rock band released on April 21, 2023 (May 5 in the US) via Atomic Fire Records. They also dropped the single “The Chair” on May 25, 2001.

• Skyforger – Pērkons (Thunder) (18 May 2012) & Teikas (Folktales) [May, 2025]
  Latvian folk-metal group Skyforger released these album in 1 May, cementing their reputation for combining historical themes with intense metal riffs.

• Sentenced – The Funeral Album (31 May 2005)
  Finnish gothic metal legends released their final studio album, closing their career with a record still celebrated by metal fans today.

• Cumbeast – Fairytales of Filth (12 May 2025)
  Brutal death metal from Finland, released in mid-May.

• …and Oceans – The Regeneration Itinerary (23 May 2025)
  Finnish symphonic-industrial black metal release.

• As The Sun Falls – Pohjoisen sydän (23 May 2025)
  Finnish melodic death metal EP combining harsh riffs and melodic hooks.

May Festivals and Events in Baltic and Nordic Music

Steelfest Open Air, Finland (Mid-May)

Steelfest, one of Finland’s dedicated black metal festivals, showcases underground and extreme metal acts in Hyvinkää every May.

Bright & Black, Finlandia Hall, Helsinki (17 May)

This special ensemble, featuring Eicca Toppinen (Apocalyptica) alongside Nordic metal and avant-garde musicians, fuses metal and orchestral music.

Riga International Music Festival, Latvia (Early May)

Showcasing classical, contemporary, and experimental works, connecting Baltic composers with international artists.

Estonian Jazz and Rock Festival, Tallinn (Mid-May)

Highlights both local bands and international acts, including metal side projects, blending genres and audiences.

Vilnius Music Week, Lithuania (Third Week of May)

A festival for indie, rock, and experimental electronic acts, emphasizing Lithuania’s emerging music scene.

Vappu/Walpurgis Night Continuations, Finland (1–5 May)

Traditional spring celebrations continue into May with concerts, street performances, and rock/metal shows.

Baltic Metal & Rock Culture

• Melnā Piektdiena: Riga: Since 13 May 2006, this club has anchored the Latvian metal scene, hosting extreme music alongside gothic and progressive shows.

• Rock Revolūcija: 17 May, Liepāja: Alternative rock festival featuring local bands and fans, now a key spring event in Latvia.

• Metal Nights: Early May, Riga: Melnā Piektdiena hosted metal gigs, keeping Baltic heavy music alive in May.

Notable May Gigs in 2026

• 1 May, Helsinki (Kuudes Linja):
  Numento joins forces with Omnivortex and Unknown Subject for a powerhouse local lineup, delivering a set that blends melodic and progressive metal into an immersive sonic experience.

• 1 May, Riga (Vagonu Hall):
  Deodium and Griefgod spearhead a night of relentless blackened death metal, bringing crushing riffs and extreme intensity to the Latvian underground scene.

• 1 May, Jurmala (Bronze statue “The Turtle”):
  Swash Spring opens the season by the sea with a blend of open-air rock, soundscapes by Adam Blake and Kelvin, and fresh local food.

• 1–3 May, Helsinki (Silja Symphony – Rock Cruise):
  Silja Rock Cruise 2026 sets sail with non-stop rock and metal performances, offering a floating festival experience from Stockholm to Helsinki with multiple bands across the deck.

• 2 May, Pärnu (Rokiklubi Garaaž):
  Atomic Annie (FIN) and Echolove (EST) deliver a high-octane night of fuzz-heavy rock and alternative riffs with an explosive live energy.

• 2 May, Riga (Melnā Piektdiena):
  The 69 Eyes bring their “I Survive Tour 2026” to Latvia for a night of gothic rock classics and dark, melodic stage presence.

• 3 May, Tallinn (Paavli Kultuurivabrik):
  The 69 Eyes bring their “I Survive Tour 2026” to Tallinn, delivering gothic rock classics with dark, melodic riffs and an electrifying stage presence.

• 3 May, Kaunas (Klubas “Lemmy”):
  Unearthly Rites (FIN) and Sonic Poison (FIN) join Aš Turiu Chlamidiją for an intense night of extreme deathgrind and blackened metal.

• 3 May, Riga (Vagonu Hall):
  Pharmakon presents a boundary-pushing industrial and noise performance, creating a visceral and atmospheric live experience for fans.

• 9 May, Riga (Melnā Piektdiena):
  The Wacken Metal Battle 2026 showcases the best rising talent in the Latvian metal scene as bands compete for a spot at the legendary festival.

• 14–16 May, Hyvinkää (Villatehdas – Steelfest Open Air):
  Steelfest Open Air 2026 gathers extreme metal fans for three days of blackened death and underground metal at the atmospheric Old Wool Factory.

• 20 May, Espoo (Sellosali):
  Årabrot delivers a haunting and experimental rock performance, blending dark melodies with an art-rock sensibility in an intimate theatre setting.

• 21 May, Riga (Vagonu Hall):
  Dödsrit and Lamp Of Murmuur bring their “Regal Vengeance” tour to Latvia, combining atmospheric black metal with crust-punk energy.

• 22–23 May, Helsinki (Ääniwalli – Sonic Rites):
  Sonic Rites 2026 features a heavy-hitting lineup including Russian Circles, Pelican, and Acid King, focusing on sludge, doom, and post-metal sounds.

• 23 May, Tallinn (Paavli Kultuurivabrik):
  Discharge, Skoone, and Project Dekadenz team up for a night of raw punk and hardcore energy, promising aggressive riffs, fast-paced rhythms, and an unforgettable underground vibe.

• 25 May, Riga (Vagonu Hall):
  Acid King performs their heavy stoner-doom classics as part of the “Busse Woods” European tour, supported by the atmospheric sounds of Celestite.

• 30 May, Tallinn (The Krypt):
  Putrid Defecation (FIN), Surrogoat (EST), and Refusal (FIN) team up for a brutal night of “toilet slam” and old-school death metal

• 30 May, Vilnius (Lithuanian Composers’ Union, A. Mickevičius St. 29):
  ERDVE presents their new album EPIGRAMA with a combined concert and exhibition, delivering an intense and cinematic sludgecore experience.

Historical May Milestones

• Lithuanian Composers’ Union Spring Showcase: Premieres and contemporary composition events connecting local musicians to international networks.

• Latvian Metal Milestones: Melnā Piektdiena club launches on 13 May 2006, establishing Riga as a key hub for Baltic metal.

• Finnish Metal Legacy: May has historically seen key album releases and festival warm-up concerts for bands like HIM, Nightwish, and Amorphis.

Why May Matters in Baltic and Nordic Music

May is more than spring: it’s festival season, premiere season, and a time when metal, rock, indie, and experimental music converge across Northern Europe. Finnish, Estonian, Latvian, and Lithuanian bands, from HIM and Nightwish to Dzelzs Vilks and Skyforger, showcase both tradition and innovation. From orchestral-metal fusions to folk-infused extreme metal, May is a month when audiences come together to celebrate live performance and new releases.

May is packed with music history. Which would you attend if you could: Steelfest, Bright & Black, or Vilnius Music Week?

This year, the largest Jāņi celebration outside Latvia will take place from June 19 to 21, 2026. Bērzes Strazdi is a non profit association and charity founded on February 11, 2012, when a group of active and enthusiastic Latvians living in Corby came together. The team continues to grow, as does the scale of their work. Their main goal is to organize high quality Latvian social events that inspire people to gather, connect, share news, stay active, get involved, and feel proud of who they are. All funds raised by the festival are reinvested into improving event quality and supporting charitable projects.

Bērzes Strazdi events have featured a wide mix of Latvian performers, with a strong focus on rock and alternative music, including Z-Scars, Līvi, Pienvedēja Piedzīvojumi, Dzelzs Vilks, Ivo Fomins, Sudden Lights and popular pop & rap artists. From folk roots to modern sounds and from diaspora identity to unforgettable midsummer nights, discover how Bērzes Strazdi is becoming a “little Latvia” abroad. The festival warmly welcomes everyone, no matter if you are from the Baltics, Europe or the UK, who wants to experience the magic of Jāņi together. This week, we talk with the festival’s team to learn more about what’s next!

What inspired the creation of Bērzes Strazdi festival?

The idea for the festival arose from a desire to preserve and nurture Latvian traditions, especially the celebration of Jāņi, also known as Līgo, while living outside Latvia. It is an opportunity for the Latvian community in the United Kingdom to come together, feel a sense of home, and pass these traditions on to future generations. At the same time, it is also an attempt to connect the traditional with contemporary cultural expression.

In your view, what role does Bērzes Strazdi play in shaping or reflecting Latvian and broader Baltic cultural identity?

Bērzes Strazdi plays a significant role in maintaining the cultural identity of the Latvian diaspora. It helps preserve Jāņi traditions outside Latvia while also adapting them to an international environment. In a broader Baltic context, it promotes cultural exchange and shows that identity is not tied solely to geography.

Have you noticed any trends regarding who attends the festival? Do visitors also come from other Baltic countries?

Most visitors are Latvians living in the United Kingdom, but increasingly people from other Baltic countries, Australia, Germany, France, and even local Brits interested in Jāņi traditions are joining. It can be observed that interest among the younger generation in this type of event is growing.

What kind of music currently resonates most with Bērzes Strazdi visitors? Are audience preferences changing in terms of genres or styles?

Music that combines traditional Jāņi elements with a modern sound is particularly popular - pop, folk, and rock music. Latvian artists are an essential part of Līgo celebrations, so each year we offer our visitors some of the most popular performers from Latvia. Choirs performing traditional Latvian folk songs also join us.

In your experience, is the popularity of rock and alternative music increasing?

Yes, especially in the diaspora, where people are looking for an authentic yet energetic experience. Rock and alternative music complement the traditional festive atmosphere well, adding a modern dimension.

Do you see rock and alternative music as important to visitors, especially the younger generation?

For the younger generation, it is very important, as it helps connect identity - being Latvian while also living in an international environment. Alternative and rock music often serve as a bridge between tradition and contemporary culture.

What are the biggest challenges you have faced when organizing the Bērzes Strazdi festival in today’s music industry?

One of the biggest challenges is balancing traditional Jāņi celebrations with a modern festival format. Other challenges include logistics, the weather in England, and balancing the tastes of diverse audiences. Maintaining an authentic atmosphere is equally important.

What can audiences expect from the 2026 Bērzes Strazdi festival, and are there plans to include more rock, alternative, or punk artists?

In 2026, visitors can expect an even richer program - both traditional Līgo elements (bonfires, songs, rituals) and a strong musical lineup featuring rock, alternative, and folk artists. The artists announced so far include Ozols, Andris Kivičs, Lauris Reiniks, Sabīne Berezina & Rassell, Olas, and Emilija, but that is certainly not all.

What has been the most memorable concert or performance at the festival so far, and could you tell us about it?

The most memorable moments usually happen on Jāņi night itself—when music, the bonfire, and communal singing merge into a single experience. These are emotional and hard-to-recreate moments that stay with both artists and visitors. It would be difficult to name just one performance, as each year’s concerts are unique - here in England, the songs sound different. There is emotion in the songs, and visitors bring indescribable energy and a sense of togetherness. As many say, the festival is like a “little Latvia.”

How do you see Bērzes Strazdi growing or changing over the next few years?

The festival has now become an important event for the Latvian diaspora in the United Kingdom, and our goal is to develop it even further. We aim to reach a larger audience, expand the festival grounds, and offer an even more diverse experience. It is also important for us to create an open and inclusive environment, warmly inviting our brothers and sisters from other Baltic countries, as well as Latvians living elsewhere, to join—strengthening a shared cultural space beyond the homeland.

Follow the festival on their channels:

Instagram: https://www.instagram.com/bstrazdi/
Facebook: https://www.facebook.com/berzesstrazdi
YouTube: https://www.youtube.com/@BerzesStrazdi

Original interview in Latvian:

Kas iedvesmoja Bērzes Strazdi festivāla veidošanu?

Festivāla ideja radās no vēlmes saglabāt un kopt latviešu tradīcijas, īpaši Jāņu jeb Līgo svinēšanu, dzīvojot ārpus Latvijas. Tā ir iespēja latviešu kopienai Apvienotajā Karalistē sanākt kopā, sajust māju sajūtu un nodot šīs tradīcijas arī nākamajām paaudzēm. Vienlaikus tas ir arī mēģinājums savienot tradicionālo ar mūsdienīgu kultūras izpausmi.

Jūsu skatījumā, kādu lomu Bērzes Strazdi ieņem Latvijas un plašākās Baltijas kultūras identitātes veidošanā vai atspoguļošanā?

Bērzes Strazdi spēlē nozīmīgu lomu latviešu diasporas kultūras identitātes uzturēšanā. Tas palīdz saglabāt Jāņu tradīcijas ārpus Latvijas un vienlaikus pielāgot tās starptautiskai videi. Plašākā Baltijas kontekstā tas veicina kultūras apmaiņu un parāda, ka identitāte nav piesaistīta tikai ģeogrāfijai.

Vai esat pamanījuši kādas tendences attiecībā uz to, kas apmeklē festivālu? Vai arī apmeklētāji ir no citām Baltijas valstīm?

Apmeklētāji lielākoties ir latvieši, kas dzīvo Apvienotajā Karalistē, taču arvien biežāk pievienojas arī cilvēki no citām Baltijas valstīm, Austrālijas, Vācijas, Francijas un pat vietējie briti, kurus interesē Jāņu svinēšanas tradīcijas. Var novērot, ka pieaug jaunās paaudzes interese par šāda veida pasākumu.

Kāda veida mūzika šobrīd visvairāk aizrauj Bērzes Strazdi apmeklētājus? Vai auditorijas prasības mainās attiecībā uz žanriem vai stiliem?

Īpaši pieprasīta ir mūzika, kas apvieno tradicionālos Jāņu elementus ar mūsdienīgu skanējumu - popmūzika, folk un rokmūzika. Līgo svinībās svarīga Latviešu māksinieki, līdz ar to saviem apmeklētājiem, katru gadu, piedāvājam populārākos māksliniekus no Latvijas. Tā pat mums pievienojas kori ar tradicionālajām Latviešu tautasdziesmām..

Pēc Jūsu pieredzes, vai roka un alternatīvās mūzikas popularitāte pieaug?

Jā, īpaši diasporā, kur cilvēki meklē autentisku, bet vienlaikus enerģisku pieredzi. Roks un alternatīvā mūzika labi papildina tradicionālo svētku noskaņu, piešķirot tai mūsdienīgu dimensiju.

Vai redzat, ka roka un alternatīvā mūzika ir svarīga apmeklētājiem, īpaši jaunajai paaudzei?

Jaunajai paaudzei tā ir ļoti nozīmīga, jo palīdz savienot identitāti - būt latvietim, bet vienlaikus dzīvot starptautiskā vidē. Alternatīvā un rokmūzika bieži vien kalpo kā tilts starp tradīcijām un mūsdienu kultūru.

Kādi ir lielākie izaicinājumi, ar kuriem esat saskārušies, organizējot Bērzes Strazdi festivālu mūsdienu mūzikas industrijā?

Viens no lielākajiem izaicinājumiem ir līdzsvarot tradicionālo Jāņu svinēšanu ar mūsdienīgu festivāla formātu. Tāpat izaicinājumi ir loģistika, laikapstākļi Anglijā un dažādu auditoriju gaumes sabalansēšana. Ne mazāk svarīgi ir uzturēt autentisku atmosfēru.

Ko auditorija var gaidīt no 2026. gada Bērzes Strazdi festivāla, un vai plānots iekļaut vairāk roka,alternatīvās vai pankmūzikas māksliniekus?

2026. gadā apmeklētāji var sagaidīt vēl bagātīgāku programmu - gan tradicionālos Līgo elementus (ugunskuri, dziesmas, rituāli), gan spēcīgu mūzikas līniju ar roka, alternatīvās un folk mūzikas māksliniekiem. Šobrīd izziņotie mākslinieki ir Ozols, Andris Kivičs, Lauris Reiniks, Sabīne Berezina & Rassell, Olas, Emilija, bet tas noteikti nav vēl viss.

Kāds ir bijis līdz šim spilgtākais koncerts vai uzstāšanās festivālā, un vai varat pastāstīt par to?

Spilgtākie brīži parasti rodas tieši Jāņu naktī - kad mūzika, ugunskurs un kopīga dziedāšana saplūst vienā pieredzē. Tie ir emocionāli un grūti atkārtojami mirkļi, kas paliek atmiņā gan māksliniekiem, gan apmeklētājiem. Nosaukt vienu uzstāšanos būtu grūti, jo katru gadu koncerti ir neatkārtojami, jo šeit Anglijā dziesmas skan citādāk. Dziesmās ir emocijas, apmeklētāji dod neaprakstāmu enerģiju un kopības sajūtu. Kā daudzi min - festivāls ir kā mazā Latvija.

Kā jūs redzat Bērzes Strazdi augam vai maināmies nākamo pāris gadu laikā?

Festivāls šobrīd ir kļuvis par nozīmīgu notikumu latviešu diasporai Apvienotajā Karalistē, un nākotnē mūsu mērķis ir to attīstīt vēl plašāk. Vēlamies aizsniegt lielāku auditoriju, paplašināt festivāla teritoriju un piedāvāt vēl daudzveidīgāku pieredzi apmeklētājiem. Tāpat mums ir svarīgi veidot atvērtu un iekļaujošu vidi, draudzīgi aicinot pievienoties arī mūsu brāļus un māsas no Baltijas valstīm un citās valstīs dzīvojošajiem Latviešiem, stiprinot kopīgu kultūras telpu ārpus dzimtenes.

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Artifer has quickly made its mark in the Estonian metal scene with a distinctive modern melodic metal. Known for their intricate sound, technical mastery, and thought provoking lyrics, this band is carving out a unique space in the world of heavy music. If you’re into complex riffs, atmospheric melodies, and heavy themes, Artifer might just be the band you need to check out! Artifer rocked Tallinn Music Week on April 11, 2026, bringing their unique sound to the heart of Estonia’s vibrant music scene at the Heavy Music Band Battle Final 2026!

Also, don’t miss our latest exclusive interview with Markus, the lead vocalist of Artifer, where we dive deep into the band’s creative process, upcoming projects, and the future of progressive metal in Estonia.

What inspired you to start making music and to form Artifer? Was there a particular moment or influence living in Estonia that pushed you towards heavy metal?

Artifer started originally as just a solo creative outlet back in 2019, after being in bands since middle school but never really accomplishing more than a few shows and songs before disbanding. Artifer was meant as a project to write and do whatever I wanted musically and have it as a personal therapy session of sorts. Us Estonians (like all Baltic peoples) have music and singing in our blood, so the need to create music was kind of always there.

What do you want listeners to feel or experience when they hear an Artifer track? What does music mean to you personally?

Our intention is to offer a complete emotional experience for our listeners. Some energetic, upbeat songs for the good days as well as down on the feels tracks for those blue days and times. Music, for me, is the most accessible form of therapy and cathartic release so we want to make sure our music has that same effect on our listeners.

Which bands and musicians have inspired you the most? Could you share your personal Top 5 albums or artists, and why they’re significant to you?

Linkin Park and Queen (specifically Meteora and A Night at the Opera): bands that first got me into rock and metal and pushed me into the more creative side of self expression;

Metallica (MoP and RtL era): the raw aggression vocally and in terms of riffing definitely had a massive impact on my writing;

Architects (All Our Gods Have Abandoned Us): probably the record that singlehandedly led me to discovering modern metalcore bands and falling in love with the genre;

Beartooth (Disgusting): In my opinion the perfect combo of insanely catchy melodies and filthy range. Definitely the blueprint for the Artifer sound.

Are you inspired by musicians from the Baltic or Nordic region? Any Estonian or Latvian artists that shaped your sound or vision?

Not sure if I can point to that many local artists that have had a pivotal role in shaping our music. Definitely the punk scene of the Soviet times (JMKE, Singer Vinger) has influenced my tastes to a degree but don’t think anything beyond that.

Why do you think heavy metal remains important for young people in Estonia and the Baltic countries today?

Everyone, but young people especially want to express their individuality and more and more young people are seeing heavy music as the perfect alternative subculture to the mainstream now that hip-hop has been widely tamed and commercialised. Metal and punk still has some of that uncontrollable energy to it that the youth finds liberating.

Is Estonian identity important to you as artists? Has local culture, language, or the underground scene influenced your music or image?

Probably in terms of lyricism. Estonian people and culture is very introspective and substance based so it trickles into my lyric writing too. Don’t think I could write super shallow lyrics if I tried hah!

Do you feel music should carry a political or social message, or is it more about personal and artistic expression for you?

Music can be whatever you want or need it to be. If you want to spread a political message and not care about being highly artistic-awesome! If you want to present some higher level art project that feels larger than life but is safe in terms of the message-still awesome! I don’t think music is something that needs to be limited to one or the other.

When you’re writing new songs, do you start with heavy riffs or vocal? Do you all work individually on each part or write music together in the same room?

Most of the time, it’s me or our guitarist coming up with something, whether it’s a riff or a vocal line, and we work from there. More often than not, we end up with the instrumental first.

What challenges or barriers have you faced as musicians in the Estonian metal scene?

Position and finances. Being broke in the middle of nowhere has made things exponentially more difficult. We’ve lost out on show/your opportunities, collabs, and more due to being from and living in Estonia.

How would you describe your listeners? What connects them most to Artifer’s music?

The absolute coolest people on planet Earth! Most likely very open-minded and explorative people. I would like to think it’s the lyrics that people connect to the most.

How would you describe the Estonian alternative or underground metal scene right now?

Probably the most lovely it’s been in a long while. Bands are popping out of the woodwork, and many of them are great right off the bat!

What has been the band’s most memorable or favourite concert so far?

Probably playing support for Smash Into Pieces. Insanely fun show to play, and what an honor! Probably some of the most positive crowd reactions besides our own shows too.

Is there a song or artist you could never listen to again?

Dance Monkey by Tones and I. Can’t stand it.

Who are your biggest influences in metal, and are there unexpected artists from other genres that inspire you, like punk, grunge, jazz, folk or electronic music?

Architects, BMTH, Linkin Park, Beartooth, A Day To Remember… The list goes on and on. Outside of metal, a huge inspiration comes from movie and game soundtracks, but also punk, hip-hop, and various EDM genres.

How would you like Artifer to be remembered in music history?

As an Estonian metal band, we made sure people actually know what and where Estonia is across the world.

Are there plans to tour abroad currently? For example, in the UK or further into Europe? What can fans expect next from the band next?

The UK and US would be amazing to tour, but probably not in the near future, sadly. That being said, we’re hoping to venture further west, past Poland, in the next year or two!

Follow the band on their channels:
Facebook: https://www.facebook.com/Artiferband/
Instagram: https://www.instagram.com/artiferofficial
Youtube: https://www.youtube.com/@artiferband
Tik Tok: https://www.tiktok.com/@artifer.band

April is not just springtime. For musicians and music lovers in Northern Europe, it is a month with serious historical moments, festivals, album releases, and key events in Baltic music history. In this post, we explore what really happened in April, including album releases, concerts, festivals, and historical milestones in Estonia, Latvia, and Lithuania.

April Releases in Baltic and Nordic Music

April has historically been a significant month for metal, rock, and indie releases in the Baltic and Nordic music scenes:

• HIM – Love Metal (11 April 2003)
  Finnish rock band HIM released their iconic album Love Metal, defining their signature blend of gothic rock and melodic sensibility.

• Behemoth – Sventevith (Storming Near the Baltic) (3 April 1995)
  The Polish extreme metal band Behemoth released this classic album, which is historically connected to the Baltic and Nordic metal ecosystem through cultural influence and touring circuits.

• Ewert and The Two Dragons – Good Man Down (5 April 2011)
  The Estonian indie and rock band released this acclaimed album, earning critical praise and increasing their international visibility.

• Amorphis – Singles “You I Need” and “My Enemy” (April 2011)
  Finnish metal band Amorphis premiered these singles in April ahead of their album The Beginning of Times, marking a key moment in their discography.

• Krypta – Unen oma (10 April 2026)
  Finnish artist Krypta released this modern metal album, showing that April continues to be an important month for Nordic metal releases.

• Moon Shot – The Power (26 April)
  The rock band Moon Shot, featuring former members of Children of Bodom, released this album, connecting contemporary rock to the legacy of Finnish metal.

• The 69 Eyes – Paris Kills (April 2002)
  Released in April 2002, Paris Kills mixed gothic rock with glam metal influences and helped the 69 Eyes gain international recognition with tracks like “Brandon Lee” and “Gothic Girl.”

• Skyforger - Kurbads (2010) & Senprūsija (2015)

  Kurbads released on 26 April 2010 & Skyforger – Senprūsija (Old Prussia) released in April 2015.

April Festivals and Events in Baltic Music

Estonian Music Days / Annual April Festival

Estonian Music Days is one of the oldest running music festivals still active in Estonia. Its roots go back to the late 1970s, and since 1993 it has taken place every spring, often in April. In 2026, the festival is set to run from 11 to 19 April in Tallinn and Tartu. It will showcase premieres by Estonian composers and performances by leading performers of contemporary music. This makes April not just a calendar month for Estonian music, but the heart of one of the country’s most significant composition and concert traditions. Estonian Music Days has also historically been a platform for premieres, collaborations, and experimental music, marking important moments in the history of Estonian music.

Tallinn Music Week / Music Showcase in Early April

Tallinn Music Week is a major music festival and industry event held annually in April in Estonia’s capital. The 2026 edition, taking place from 9 to 12 April, will feature dozens of showcases, including a dedicated metal stage that highlights local heavy acts alongside other genres. Tallinn Music Week is one of the rare festival weeks where rock and metal intersect with the wider music culture. The festival has become an important event for the Baltic music scene, supporting emerging bands and connecting Estonian artists with international collaborators. Tallinn Music Week also highlights the growing importance of live performance in April as a cultural spring milestone.

Baltic Music Days / Rotating Baltic Festival in April

Baltic Music Days is a collaborative festival that unites the three Baltic states, Estonia, Latvia, and Lithuania, around contemporary music. In 2026, the festival opened on 9 April with performances and world premieres in Riga and Liepāja. It brought together composers and performers from across the Baltic and Nordic regions. This festival is another major April music anchor for Baltic history and tradition. Baltic Music Days often coincides with other historical milestones in Baltic music, including collaborative projects between composers’ unions in Lithuania and Latvia, and showcases of historical works from Estonian Music Days archives.

Sound Days (Electronic / Media Art + Code)

Sound Days Festival / April 21–25, 2026

Sound Days is a week‑long festival in Liepāja, Latvia, focusing on sound and media art, electronic and experimental music, and audiovisual works. The 2026 edition features workshops on experimental instrument building, modular synths, DIY methods, and audiovisual art, with performances, a pop-up exhibition, and a concert evening.

On 22 April, the Atmospheric Waves seminar will present artist talks, performances, and interventions exploring wind, waves, environment, and climate as artistic and cultural material. Workshops (21–25 April) are led by international artists and researchers including John Grzinich (US/EE), J “Mo’ong” Santoso Pribadi (TH/ID/LT), Kathy Hinde (UK), Gijs Gieskes (NL), Florian Tuercke (DE), Jia Liu (DE), Marije Baalman (NL), and Latvian artists Artūrs Punte, Maksims Šenteļevs, Artis Kuprišs, and Reinis Naļivaiko.

This festival shows how music technology, experimental art, and environmental themes intersect in April across the Baltic region.

April Music in Finland:

• April Jazz is the largest jazz festival in the Helsinki metropolitan area and has been running since 1987.

• Across April 2026, Helsinki’s venues are hosting a range of concerts including metal, jazz, and rock.

• Hetta Music Event (1–5 April 2026) highlights classical music performances early in the month.

• Tampere Biennale (15–19 April 2026) showcases contemporary Finnish composition.

• Vappu/Walpurgis Night music events kick off on 30 April and continue into May as part of a national spring tradition.

Historical April Milestones in Baltic Music

April has also been notable for key moments in Baltic music history beyond albums and festivals.

• The Estonian Singing Revolution, which played a major role in Estonia’s independence movement, often saw large choral gatherings and public performances in April, symbolizing the start of the spring cultural activism season.

• Latvian Music Days regularly held performances and premieres in April, supporting local composers and promoting Latvian music traditions.

• Lithuanian Composers’ Union events often occur in April, celebrating contemporary composition and connecting local musicians to regional networks.

• Estonian Music Days, Tallinn Music Week, and Baltic Music Days all anchor April as the festival month, consistently hosting premieres, concerts, and international collaborations.

Notable Baltic & Helsinki Gigs in April 2026

• 7 April 2026, Helsinki (The Circus):
  Hypocrisy performs, delivering their signature mix of melodic death metal and intense energy. A must see for metal fans.

• 8 April 2026, Riga (SPELET):
  Hypocrisy headlines again, bringing classic extreme metal energy and a killer live performance. An unmissable show for fans of the genre.

• 10 April 2026, Helsinki (Finnish National Theatre):
  Von Hertzen Brothers take the stage, blending rock and prog classics for a night of diverse and engaging sounds.

• 11 April 2026, Helsinki (Suvilahden Tiivistämö):
  Experimental and atmospheric acts Naked Whipper, Negative Plane, Krypts, and Hail Conjurer join forces for an immersive and boundary-pushing night of music.

• 13 April 2026, Helsinki (Kulttuuritalo):
  Fit for a King (metalcore) brings a heavy night of breakdowns, intense riffage, and high energy performance you won’t want to miss.

• 14 April 2026, Riga (Maza Gilde):
  Tabestic Enteron, Druun Līgas pH3, and Life of Vice Eternal bring an experimental edge to the local scene, showcasing cutting-edge sounds from Latvia’s underground.

• 20 April 2026, Riga (Palladium):
  Kreator, Carcass, Exodus, and Nails hit the stage for an epic thrash and death metal night, with some of the biggest names in the genre touring Europe together. Expect non-stop aggression.

• 22 April 2026, Helsinki (The House of Culture):
  Swallow the Sun brings their atmospheric death doom to Finland, with a mesmerizing performance that’s both haunting and heavy.

• 25 April 2026, Riga (SPELET):
  Solo Ansamblis: originating from across Lithuania and converging in Vilnius, Solo Ansamblis blends introspective and outward facing dance vibes with electronic and live instruments, analog synths, and digitally processed sounds

• 30 April 2026, Oulu (Tullisali):
  Mokoma kicks off their “Kuoleman laulukunnaat 20 vuotta” tour with a celebration of two decades of Finnish metal, featuring iconic tracks and electrifying stage energy.

Why April Matters in Baltic Music

April in the Baltic region is not random. It is festival season, premiere season, and a time of music industry focus. Estonian Music Days continues into mid-April each year. Tallinn Music Week brings a wave of live sessions, including metal showcases. Baltic Music Days rotates annually and has been anchored in April dates since its 2021 launch. These festivals and historical events define the month as a time when musicians and audiences come together after winter to celebrate new work, collaboration, and live performance. April is therefore a month where history, tradition, and contemporary music intersect across Estonia, Latvia, and Lithuania.

April is packed with music history. Which would you attend if you could: Sound Days, Tallinn Music Week, or April Jazz in Helsinki? Share your thoughts in the comments!

There’s something brewing in Helsinki underground, and it doesn’t ask for permission. HITES are part of a new wave of bands tearing through genre boundaries and expectations, delivering performances that unfold with a raw, unpredictable intensity.

Formed in 2023, this British-Finnish four piece has carved out a reputation for their visceral live shows, where distortion crashes into sharp irony, and every set feels unpredictable. At the centre is vocalist Niall Coleman, Rasmus Teliö-Sandqvist’s at the guitar, Artturi Tuomikoski’s on bass, and Aleksi Jokilahti’s on the drumms…the band create a sound that refuses to sit still.

Blending punk, metal, funk, and experimental influences, HITES don’t just play music, but they build something volatile and alive. It’s messy, loud, and entirely amazing!

This week, catch an interview with Niall, with a couple of questions featuring Artturi and Rasmus! A big thanks to HITES for giving us this glimpse behind the scenes! Shoutout to the band for taking the time to chat with me about their music.

What inspired you to start making music and to form HITES? Was there a particular moment or influence from either the UK or Finland that pushed you towards alternative/post-punk?

Pierce Brosnan singing SOS in Mamma Mia was genuinely an inspiration for me when we started HITES. I was in my mid-twenties with no musical experience, and I remember feeling absolute joy when I saw that scene, he sings kinda.. bad.. but he just fucking owns it. I realised that’s all that matters. Whatever you do, just do it with your whole heart and don’t be afraid to be shit. Just have fun.

Fortunately, I surrounded myself with actual talented musicians who tolerated my shouting about landlords for long enough for some songs to take shape.

We write our music collectively, so everyone gets to put their own stamp on our sound. We all have our individual influences that mold our music, but we never set out to make any particular genre of music. We just started playing together and interweaving our ideas.

What do you want listeners to feel or experience when they hear a HITES track? What does music mean to you personally?

It’s not particularly important what emotions you feel when listening to our music or coming to our shows, but we really want you to feel something. The real worry is that we make something that you feel totally indifferent towards to be honest.

Which bands and musicians have influenced you the most? Could you share your personal Top 5 albums or artists, and why they’re significant to you?

In no particular order:

1. The Streets. The genre is totally different from what we have ended up doing with HITES, but I remember the first time I heard their Original Pirate Material album as a young teenager and I had never heard anything like it. Before that, music had always felt like something distant and unattainable, and suddenly there’s this guy talking about having plenty of fried tomato on his full english breakfast. It wasn’t drowned in poetic cliches, it was just the everyday mundane shit, and I loved it.

2. Sleaford Mods. Similarly to The Streets, Sleaford Mods just cut straight to the core of everyday life. No bullshit. It just feels like a constant stream of everything that pisses him off, and that’s something I can relate to.

3. Viagra Boys. Aside from the music, which I adore, I really look up to the way Sebastian Murphy has moved to Stockholm from the States as a young man and built his own community there. I feel some similarities, moving from the UK to Helsinki aged 20 and growing myself and the band, and would love for HITES to be able to grow in a similar way.

Artturi (bass): 4. Muse. I like how they make order out of chaos, mix different genres together - even classical music. They go beyond bass guitar and drums, and how the bass does part of the rhythm guitar and enables the guitar/ piano/ synth to explore more of the soundscape.

5. Nick Cave. The lyrics are just so moving in every incarnation of his music. I also love that his voice is probably not “technically” the best, but he found his unique style. I really admire that. For me, it adds to the beauty of the words. I once had a Nick Cave t shirt with a self portrait with the caption “embrace your flaws, they’re the only thing that makes you interesting” and that quote has always stuck with me.

Are you inspired by the punk or alternative scenes in the rest of Baltic States? Any artists from the region that has shaped your sound or vision?

We played a squat in Tallinn last year and the place was electric. That’s something that’s lacking here in Finland. There’s a few DIY spaces run by passionate people, but they have to operate within the system. Every time someone tries to open a squat here, the police close it down pretty fast. I wish the powers that be just turned a blind-eye sometimes because the energy these places have and the community around them are unmatched.

Shout-out Ülase12 and the bands we played with; C.C. and Spekter.

Why do you think alternative and punk music remains important for young people today in the UK, Finland and globally?

Punk, music and communities feel like action. Whatever shit is getting you down, feeling like you’re doing something about it is the way out. To be part of something that feels like you can inflict change, just within yourself or in society is powerful.

Is your British/Finnish identity important to you as artists? Has local culture, language, or the underground scene influenced your music or image?

I moved to Finland from England almost 10 years ago, and I feel more Finnish than British nowadays, but it’s a strange “in-between” feeling. Many of my lyrics are inspired by lived experiences, which often means the day-to-day shit of life in Helsinki. As a smaller country, I definitely feel a sense of national pride as a Finn that I never felt living in England. Maybe it’s the politics or the history, or maybe just having a smaller population makes you feel like you’re part of something bigger than yourself. I can’t say for sure what it is.

Do you feel music should carry a political or social message, or is it more about personal and artistic expression for you?

I often write lyrics with an intentional message, but I don’t believe everyone else should be doing that. It would be a mistake to put rules or limits on expression. It’s also a luxury for me to be able to write pretty much whatever I want, it feels like in many places right now, censorship and other outside pressures are trying to limit what is allowed.

What challenges or barriers have you faced as musicians navigating within the Finnish and Baltic music scenes?

Language has been a big issue for us in Finland. We generally make our music and do our content in English as my Finnish is pretty weak (it’s a damn hard language), and it feels like radio, media etc. isn’t ready to accommodate that just yet.

But at the same time, there’s new things starting out that don’t think that way at all i.e youtube channels, tiktok bloggers. We also need to take the responsibility to keep growing and to change the way things are done.

How would you describe your listeners?

Our shows are usually a great mix of old-school punk heads and Kallio hipsters. Kallio is a Helsinki suburb which is right now in the sweet spot of a proud working-class history and lots of art, music and cafes. We just need to keep the landlords and chain shops out.

How would you describe the current alternative-punk scene in Finland?

There’s so much good shit here. Bands like Drug Store Raid, Spectacle, Hauraus, Lupiinit, Kuumaliima just to name a few, but it’s quite hard to grow. The industry here is very small, and there’s not many routes to export the music either.

The economy right now is extremely poor in Finland, which has forced many venues to close and many festivals of all sizes to either totally stop, or take a hiatus.

What has been the band’s most memorable or favourite live
performance so far?

We’ve had a few great ones. One that sticks out was playing Mitäs Mitäs Mitäs festival last year. The whole festival area was drowned in mud all weekend and we took stage just as the midnight sun was setting. It really felt like the crowd were giving back the emotion we were putting out, it was so much fun.

Who are your biggest influences in punk and alternative music, and are there unexpected artists from other genres that inspire you, like grunge, rock, electronic, folk, jazz, classical or metal?

Rasmus (guitar): Lately, I’ve been listening to a Finnish rock band called Tiisu, a Japanese metal band called Circus Dead Decadence and also Sabrina Carpenter. All of these artists influence my writing in some way. I don’t care much for genre-keeping really. If a song works, that’s all I need.

How would you like HITES to be remembered in music history?

I’ve noticed outside of punk/ hardcore circles in Finland, people can be really reserved at shows. It’s a cultural difference. People feel like they’re respecting the artist by giving them space to perform their art.

I’d like for us to be part of a shift in our tiny little corner of the world to make live shows more of a two-way street. I want people at our shows to feel like they can express themselves as much as we do on stage, I want them to feel like we’re in this together and anything goes.

Are there plans to tour abroad like the UK? What can fans expect next from the band?

We have been working on a soundtrack for a film that will be released later this year titled Typerät Lapset (translates as Stupid Children). Right now we are working on our debut album which will be released in 2027. We’re planning to tour the UK with the album for the first time!

Follow the band on their channels:

Instagram: https://www.instagram.com/hitesband/?hl=en
TikTok :https://www.tiktok.com/@hitesband
Youtube: https://www.youtube.com/@HITESband

THE LANDLORD music video is out now:

bloodfeather, from Tartu, Estonia, blends rock and metal into a ‘cocktail that leaves blood in your mouth and feathers in the air’. The band, made up of Erik Vink, Claude Alt, Benjamin Roomes, and Andres Täht, has gained a strong following across the Baltics with their intense live performances and annual Emo Nights in Tallinn and Tartu.

In 2025 and 2026, they were selected as one of the 12 best Estonian metal acts at the Heavy Music Band Battle, and they recently opened for Deez Nuts at Von Krahl in Tallinn. With eight singles and a debut EP released in October 2025, their latest track, “Closer Enemy,” shows just how far Bloodfeather is willing to push their sound. They’ll be back on stage at Tallinn Music Week for the Heavy Music Band Battle finals on April 11th, 2026.

I had the chance to discuss with the band’s guitarist, Benjamin, about what music really means to them.

What inspired you to start making music and to form bloodfeather? Was there a specific moment or influence growing up in Estonia that pushed you towards music?

I’m actually English so I didn’t grow up in Estonia. However, Bloodfeather was born out of a previous band called Her Memorial Discourse, who are very important within Estonia’s music scene as I’d say they spearheaded the metal-core movement in this country.

They split when members wished to do different things artistically and Bloodfeather became the band to create less technical and more rough and emotional music; trying to step away from typical ‘core’ tropes (With the exception of squeezing in breakdowns, because everybody loves a good breakdown!)

What does music mean to you personally?

Music for me is an extremely important form of expression but also a perfect outlet to feel all emotions in a healthy way. Beyond the art & entertainment, it’s a great way to regulate your nervous system. It also allows me to find connection with others within a community.

Which bands and musicians have inspired you the most? What would be your personal Top 5 albums or artists, and why did you choose them?

I’ll answer this aiming to keep the band’s overall inspiration in mind.

Bring Me the Horizon, Stray From the Path, Fever 333, Beartooth, Limp Bizkit.

This selection represents artists we’ve tried to take cues from, whether it’s from songwriting, visual design, or stage production. I’d say the bands listed have a great ability to create heavy music that can still be uplifting and work in a party setting where you can get the audience to bounce or dance in a live situation.

Are you inspired by musicians from the Baltic or Nordic region? Any Estonian artists that had an impact on your sound?

Normandie are a band from Sweden who we took inspiration from when writing our song Closer Enemy. We were trying to see how ‘Pop’ we could go whilst retaining our rock/metal roots.

Why do you think rock and metal music are still important for young people in Estonia and Baltics today?

Estonia is the country of the singing revolution and music is not just culturally important but historically and politically too across the Baltics. Metal is simply an extension of that so for those who it resonates with, it connects you to a larger history and cultural identity.

But on a more personal level, what I was saying before about having an outlet. As a teenager, so much of the music I listened to helped me express my emotions at that time.

Is Estonian identity important to you as artists? Has local culture, language, or the underground scene influenced your music or image?

I believe Estonian identity is important, however because of the style of music we play I’d say our approach has been to not force that on our music, but simply write what we think is good. And in creating our best work, try to represent Estonia in the best way. For example we sing in English for the purpose of being more accessible internationally, and if someone in another country enjoys our music then hopefully someone thinks “Cool, that’s what Estonian artists are up to.”

Rock and metal often have roots in social or emotional expression. Do you think music should carry a political or social message, or is it more about personal and artistic expression for you?

Rock and metal doesn’t have to express political or social topics but I think it is the perfect vessel to do so. Music can be very powerful in connecting with people and so when paired with a message or intention, it can communicate that far and wide to audiences that may not have otherwise engaged in such things.

Having said that, there’s just as much importance for music to not take itself so seriously. Escapism is equally as important because sometimes people just want to clear their minds. Ultimately it’s good to have access to every form of music and let the listener decide what they want to connect with.

How does the songwriting process look for Bloodfeather? Do you all come together in one room to write or work individually?

It’s actually extremely collaborative. When I joined the band I was slightly worried there’d be pressure to be the main songwriter, but as we started writing I saw how everyone had great ideas and input. I’ll prepare a bunch of demos by myself at home but then we’ll make a point of getting in a room and jamming things out the old fashioned way. I have strong trust in the other guys’ taste because I started as a fan of the band and since joining I don’t want to disrupt the identity of the music. Typically after all ideas have been discussed, Erik our singer is the one to have final say and give the ‘Bloodfeather’ stamp of approval.

What kinds of challenges or barriers have you faced as musicians in Estonian music scene?

Estonia being a small country, it limits how many shows you can do because it makes little sense to regularly play the same town or city repeatedly. It’s also a double edged sword in the sense that it’s easier to network and gain opportunities internally (E.g. we’re not a massive band but we’re on national TV and radio), but breaking out of the country seems trickier.

How would you describe your listeners? What do you think they connect with most in your music?

I feel lucky to describe our listeners as dedicated. We may not be the largest band but we certainly have a following of loyal fans. One example being that we crowdfunded the recording of our debut EP. The response was overwhelming and we smashed our target with plenty to spare, which we were then able to invest in our release shows and music videos.

Prior to joining the band, my connection came from discovering an artist that was writing to a high level in their genre and most importantly maintaining their own character. I feel like Bloodfeather is one of those bands where if a new song comes out, you can instantly recognise it’s us, and I’d like to think that’s how other listeners feel also.

How would you describe the Estonian alternative or underground rock/metal scene right now?

The most alive that it’s ever been! With the birth of Eesti Raskemuusikaliit (Heavy Music Estonia) in 2022, the community is really connecting and building itself up. There are loads of new bands appearing, there’s a consistent series of networking and showcase events, and the founder Ott Evestus has been doing an amazing job of creating international contacts and opportunities for Estonian artists.

One main example is the Heavy Music Band Battle that we’re currently involved in. The main prize is an opportunity to play at Mystic Festival in Poland! Also for the first time, Latvian and Lithuanian bands are competing as part of an effort to strengthen ties between the Baltic nations. The battle this year is also an official part of Tallinn Music Week meaning that the finalists get to be seen/meet all the same international representatives and delegates that would be present at the TMW Metal Stage.

What has been the band’s best or most memorable concert so far?

A highlight for Bloodfeather has been opening for the Australian hardcore band Deez Nuts in Tallinn. But honestly, this year’s Heavy Music Band Battle semi-final was a night that we won’t forget any time soon. Two bands qualify based on a jury vote and an audience vote. We’re from a smaller town, Tartu, so felt we’d be at a disadvantage playing in Tallinn, the capital. Not only did we win the audience vote, we won the jury vote as well! It was a gratifying experience!

Is there a song or artist you would never want to hear again?

Coldplay, Imagine Dragons, and Around the Sun :D

Do you enjoy other contrasting genres like grunge, jazz, classical, punk, or folk? Do any of these influence your sound?

The band listens to a range of different genres, inside and out of rock/metal. I don’t feel these things directly influence our sound necessarily but they act as a palette cleanser, so when we return to writing heavy music we can approach it with a clear mind instead of trying to simply recreate whatever current big bands are doing.

How would you like Bloodfeather to be remembered in music history?

Fame and fortune would be lovely! But being realistic, I think the thing we could be most proud of is if people viewed us as one of the strongest bands in our scene that played a key role in working alongside Heavy Music Estonia to strengthen ties between the Baltic and Nordic countries and grow our community!

Are there any plans to tour abroad (for example, the UK)? What can we expect next from the band?

There are certainly plans to tour abroad but we’re aiming to start closer to home by reaching audiences in Latvia, Lithuania, and Finland. As the English member in the band, playing the UK isn’t out of the question and would be something I would love to do!

Follow the band on their channels:

Website: https://bloodfeather.ee
YouTube: https://www.youtube.com/@bloodfeatherEE
Facebook: https://www.facebook.com/bloodfeatherEE
Instagram: https://www.instagram.com/bloodfeatheree
Tik Tok: bloodfeather (@bloodfeatheree) | TikTok

Tallinn Music Week 2026: A Turning Point for Baltic and Nordic Music

Every spring, Tallinn Music Week turns Tallinn into one of Europe’s most important discovery festivals. Taking place from 9 to 12 April 2026, this year’s edition brings together over 180 artists from nearly 40 countries, alongside hundreds of industry delegates. What makes 2026 stand out is its stronger focus on regional collaboration and guitar driven music, especially indie rock and metal, at a time when these genres are regaining momentum across Europe.

Indie and Metal at the Core:

The 2026 lineup reflects the diversity of the modern alternative scene. Indie artists such as mariin k., Alonette, Duo Ruut, The Guilt, and Aino & Hajonneet bring a mix of shoegaze, post punk, and experimental pop. Their sound reflects the introspective and atmospheric tone that has defined Northern European indie since the 2010s.

Metal is just as prominent. Bands like Intrepid and other rising acts represent a new generation of Baltic heavy music that blends sludge, progressive, and extreme influences. These scenes have grown rapidly since the 2000s, supported by independent venues, small festivals, and online communities that allowed artists to build audiences beyond their home countries.

The Metal Band Battle and Regional Momentum:

A major highlight is the Metal Band Battle on 11 April 2026. This event brings together emerging bands from Estonia, Latvia, Lithuania, and Finland. It offers a rare platform where underground acts can perform in front of international bookers, labels, and media.

The Heavy Music Band Battle at Tallinn Music Week is a major live competition that brings together some of the strongest emerging metal bands from across the Baltic region. The final features the top Estonian acts that have made it through earlier rounds, alongside winning bands from Latvia and Lithuania. It is a high energy event where both the jury and the audience play a role in deciding the winner.

The purpose of the battle is to help bands gain exposure, connect with music industry professionals, and prove themselves on a larger stage. It also reflects how the Baltic heavy music scene is becoming more united and competitive internationally. Previous winners like Intrepid have gone on to perform across Europe and the United States, showing that this platform can lead to real career opportunities. The winning band earns a slot at Mystic Festival, giving them the chance to perform at one of Europe’s major metal festivals.

The 2026 final lineup includes Griefgod from Lithuania, Artifer, Pale Alison, bloodfeather, and OLLIE from Estonia, along with SEVER from Latvia. Each band performs a set during the night, building up to the final decision.

Built in the 2000s and 2010s:

Founded in 2008, Tallinn Music Week emerged during a period when Baltic and Nordic music scenes were rapidly modernising. The 2000s saw the rise of independent labels, digital distribution, and grassroots venues, while the 2010s brought international attention to Nordic and Baltic creativity.

Tallinn Music Week grew alongside these changes. It expanded from a local showcase into a major industry event, now hosting conferences, networking sessions, and partnerships that connect artists with global markets. The festival has helped artists move from local recognition to international touring circuits.

Sudden Lights from Latvia appeared at TMW in 2023 and 2024, bringing their indie rock to the festival stage. Puuluup performed at Tallinn Music Week in 2025, showcasing their talharpa driven folktronica sound. Tommy Cash, the avant-garde Estonian rapper, has frequently performed at TMW, including appearances in 2014, 2016, and 2018, presenting his provocative, surrealist style. Finnish artists are regularly featured, with over 20 acts at TMW 2025 alone, highlighting Nordic & Baltic connections. Tallinn Music Week has helped artists like Talbot (metal), Maarja Nuut (folk/experimental), Trad.Attack! and Mari Kalkun (folk/alternative), and Shortparis and Molchat Doma (post‑punk) gain international recognition. The festival showcases Baltic and regional talent across metal, folk, indie, and post‑punk. The festival continues to showcase Baltic and regional talent across genres, from metal and folk to indie and alternative, connecting them with global audiences. Acts such as Ewert and The Two Dragons and Kerli are often linked to this wave of exposure too, showing how artists from the region can break into wider audiences with the right platform.

Why 2026 Matters:

The 2026 edition arrives at a moment when indie rock and metal are evolving again. There is renewed interest in live music, DIY culture, and genre blending. Tallinn Music Week captures this shift by giving equal space to emerging indie and heavy acts while strengthening ties between Estonia, Latvia, Lithuania, and Finland.

Tallinn Music Week remains important because it does not just reflect trends. It actively shapes them. By supporting collaboration, discovery, and experimentation, it continues to push rock and alternative music forward, ensuring that the Baltic and Nordic scenes remain influential on the European stage.

Is Latvian alternative music unique within the global music landscape? According to one of its most articulate witnesses, the answer is unequivocal.

“Absolutely unique. Absolutely unique.”

Yet this uniqueness is not immediately obvious. It emerges through history, language, geography, and long standing structural conditions that have shaped Latvian music outside the logic of mainstream markets.

Trying to Sound Like Foreigners and the Persistence of Difference

For much of the late twentieth century, Latvian musicians aspired to sound foreign. In the 1990s and early 2000s, the colloquial term firma was used to describe music that approximated Western or international standards.

“We wanted to sound like foreigners.”

However, these attempts were ultimately unsuccessful, not because of a lack of skill, but because a distinct local character remained audible regardless of stylistic intention.

“No matter how hard we try, that Latvian mark of ours is insane. It pushes into absolutely any genre.”

This phenomenon persists even in genres defined by global stylistic codes.

“We can listen to the purest death metal and think: ‘If I didn’t know they were ours, I’d think they were Americans or Norwegians.’”

Yet international listeners perceive something else entirely.

“Americans or Germans listen and ask: ‘Why do they sound Scandinavian?’ Because we have this huge Latvian code.”

Liepāja Rock as Cultural Capital

Within Latvia, the phrase “Liepāja rock” has often carried derogatory connotations, associated with outdated aesthetics or provincialism. However, this internal devaluation contrasts sharply with external reception.

A music industry professional from Sony Music Iberia once reframed the concept entirely.

“Your ‘Liepāja rock’ stamp is a huge added value, regardless of what you think it means.”

From an external perspective, several distinctive musical characteristics stood out. These included clearly articulated guitar riffs, an emphasis on lower vocal registers, and a sonic density that evoked ritualistic or archaic qualities.

“They associate us with big, tall people who sing in low voices, almost like shamans.”

Language itself contributes to this perception.

“One language you have is like snakes, and the other is terribly loud. Taking all that together, we have something insane.”

A Music Culture Without a Market

Latvia has never possessed a fully developed music market in the conventional sense.

“We have never had a normal market situation here. Never.”

In contexts where linguistic communities are small, cultural production cannot rely on scale, competition, or commercial feedback loops. As a result, Latvian musicians were never structurally compelled to adapt their sound to market expectations.

“We haven’t had to adapt our music to earn big bucks.”

This condition persisted even during the Soviet period.

“Even during the Soviet era, Latvians played very specific music, evolving for decades with zero external influence.”

In contemporary terms, this absence of market pressure has become a significant advantage.

“Foreigners are already very assembly line. Due to competition, radio stamps, algorithms.”

Latvian musicians, by contrast, retained a high degree of artistic autonomy.

“That artistic freedom without natural or unnatural influencing factors is a huge plus.”

Regional Identity and the Formation of Sound

Musical identity in Latvia is not solely national but also regional.

“It influences them greatly.”

Smaller towns function as relatively closed cultural environments, where listening habits circulate within tight social networks and reproduce themselves across generations.

Cēsis developed a reputation for heavier music. Valmiera gravitated toward lighter sounds. Liepāja leaned toward German influenced hard rock. In Latgale, seriousness characterized all genres, regardless of stylistic category.

“If people in one city listened to Metallica and in another to Nirvana, that carries on through generations.”

Missed Opportunities and Retrospective Perspective

In 1993, the band Monro was invited to collaborate with China Records in London and appeared on a compilation alongside prominent British guitar bands. Despite this, financial constraints made participation impossible.

“We played four sets and maybe earned five lats. A coffee in London cost five pounds.”

At the time, this seemed like a catastrophic missed opportunity.

“For a long time, I was heartbroken. I thought the train had left the station.”

With hindsight, this interpretation has changed.

“Now, being an old uncle, I’m extremely glad. We would have died in the gutter there.”

Structural Problems in Cultural Policy

The most critical reflections in the interview concern contemporary cultural policy in Latvia. Non academic music remains poorly defined and institutionally marginalized.

“It hasn’t even had a name invented for it.”

Academic music represents a relatively small portion of actual musical activity, yet it receives the vast majority of public funding.

“Academic music might be 10 percent, but it receives around 90 percent of the funding.”

Meanwhile, alternative and popular musicians are classified under the category of creative industries rather than music.

“If we accept as a norm that music isn’t music, then I don’t know how I’m supposed to explain anything at all.”

Preserved Identity as Value

Despite these structural limitations, Latvian alternative music has endured precisely because it developed outside dominant economic and institutional frameworks.

“Our identity has been preserved, and we have an insane trump card.”

In an increasingly homogenized global music environment, this preserved specificity may represent Latvia’s most significant cultural asset.

Rock Music and Protest After Independence

Following the restoration of Latvian independence in the 1990s, rock and alternative music no longer occupied the same socio political position as before. As the interviewee states directly, “it absolutely does not mean the same thing because times and situations have changed.” During the late Soviet period, rock music functioned as a visible form of resistance, characterized as “very rebellious and hungry for freedom,” with aggression grounded in opposition to concrete injustice.

However, the interview emphasizes that rebellion was not exclusive to rock music. On the contrary, “almost any artistic expression was rebellious at its core.” Poetry, visual art, and dance all encoded resistance, often symbolically expressing oppression and liberation. Rock music gained prominence largely because “it could reach many people at once,” not because it alone carried oppositional meaning.

Northern Affinities: Cultural and Musical Parallels Between Latvia, Finland, and the Baltic Region

Discussions of Latvian cultural identity often position the country between Eastern and Northern Europe. However, first hand accounts from musicians and cultural practitioners suggest that Latvia’s strongest affinities may lie firmly within a broader Northern cultural sphere, closely aligned with Scandinavia and Finland.

As one Latvian musician observes:

“We are very similar to the Scandinavians. Whether we like it or not. That’s why I always say that we are Northerners.”

This sense of shared Northernness emerges not as an abstract identity, but as a product of geography, historical contact, and everyday cultural exchange. Latvia’s borders function less as divisions and more as zones of continuity. In the Valka Valga region, for example,

“The town speaks both languages,”

illustrating how linguistic and cultural boundaries remain fluid. Similar observations extend southward:

“Our folk songs and everything else are quite similar too.”

While Baltic interconnections are expected, the perceived proximity to Finland is particularly striking. Despite linguistic differences, respondents repeatedly emphasize shared mentality and musical sensibilities:

“We are very, very similar to the Finns, whether we want to be or not.”
“We have quite similar music and mentality.”

Long-term exposure reinforces this perception. Frequent travel throughout Sweden, Finland, and Norway leads not to cultural estrangement, but to familiarity:

“In my life, I had to travel every year to Sweden, Finland, Norway.”

Finland, in particular, evokes a sense of home rather than foreignness:

“I think Finnish people. It feels like I’ve ended up in Kurzeme somehow.”

This comparison to Kurzeme, a region associated with restraint, reserve, and understated social codes, suggests a shared social rhythm. Interpersonal behavior follows a recognizable pattern:

“At first, they hold back, pretending you’re not there. Then they get used to you.”
“Then they realize you’re not just some troublemaker, but a cool person, and then they open up to you.”

Even speech and emotional expression align:

“And they speak similarly.”
“Similar temperament.”

The cumulative effect of these observations leads to a strong conclusion:

“And I think we are very close.”
“I even believe we are the closest.”

Yet, alongside this sense of proximity lies a distinctly Northern form of self-criticism. Across Latvia, Estonia, and Finland alike, there is a persistent belief that cultural vitality exists elsewhere rather than at home. As one speaker wryly notes:

“What really unites us all as Northerners is that it’s better everywhere else, just not at home.”

Taken together, these reflections suggest that Latvian cultural identity, particularly in music and social interaction, may be more coherently understood within a Northern framework. Rather than aspiring toward Scandinavia as an external model, Latvia may already participate in a shared Northern cultural continuum, one defined less by national narratives and more by temperament, practice, and lived experience.

Transformation of Expression

While the social function of rock music has shifted, the interviewee argues that “the message itself hasn’t changed much.” What has changed is the form of expression and production. Earlier rock culture was rooted in physical intensity and collective experience, where musicians rehearsed in loud, uncontrolled environments. Today, music is increasingly produced in isolation, mediated by digital technologies, resulting in what is described as a move away from “untamed vulgarity and rebelliousness” toward “intelligence, quality, and refinement.”

This transformation is not framed as decline but as adaptation. In a relatively stable and materially secure society, the interviewee suggests that such refinement is both natural and inevitable.

Grunge, Accessibility, and the Latvian Scene

The influence of grunge on Latvian alternative music is described as significant but delayed. Bands such as Nirvana demonstrated that “regular people could play,” challenging the notion of distant, heroic rock figures. This accessibility encouraged participation and experimentation within the Latvian underground, contributing to the diversification of the scene in the late 1990s.

Cultural Value and Institutional Neglect

Despite its cultural significance, Latvian rock music remains institutionally marginalized. The problem, according to the interviewee, lies not only in funding but in the absence of strategic recognition. Rock music is described as “a cultural product with high added value,” yet political actors acknowledge that meaningful reform would require decisions perceived as “political suicide.”

The conclusion remains cautiously critical. Latvian rock and alternative music persist as culturally meaningful practices, but their long term sustainability depends on whether they are acknowledged as music rather than relegated to undefined creative categories.

Discover the full interview:

One of the key figures operating at this intersection of creativity and cultural management is Jānis Bukums, a Latvian rock musician and songwriter who has been active since the late 1980s. In addition to his artistic career, Bukums has played a significant role in shaping the institutional framework of Latvian rock music. He is known as a musician for bands such as Monro, Miss.America, Dr.Blue & Domino. In 2017, he founded the Latvian Rock Music Association (Latvijas Rokmūzikas asociācija), an organization aimed at strengthening the position of rock music within Latvia’s cultural landscape and supporting the professional development of musicians. He has established the only and longest running Latvian rock radio station LRMA Radio, that is the only station playing alternative music from Latvia. He also hosts the Radio SWH Rock show Roka Nemieri. I had the chance to ask a couple of questions and find out the challenges young musicians face in Latvia and Baltics currently.

I found it striking that there is such a lack of interest at the state level in encouraging or even identifying the needs of young musicians. There appears to be little systematic effort to understand how emerging artists can develop professionally, and overall institutional support remains minimal. Rock and alternative music are not clearly defined or adequately represented in cultural policy or legislation; instead, they are loosely categorized under the broader concept of the creative industries. As noted by Bukums, the majority of public funding and institutional attention is directed toward academic music, which constitutes only around 10% of the actual music industry in Latvia. This imbalance raises questions of social and cultural inequality and highlights a broader lack of interest in fostering youth engagement and the sustainable development of the music industry.

Bukums supports his observations with insights drawn from discussions with music professionals in countries such as Finland and Spain, allowing for a comparative perspective. These reflections are closely connected to his own career trajectory, his experiences as a young musician, and his assessment of the contemporary musical landscape in Latvia. During the interview, I also had the opportunity to discuss the influence of the 1990s grunge movement and its impact on Latvian music, particularly in relation to folklore, national identity, and the development of alternative music in the 2000s. In this context, Bukums emphasized the significance of influential figures such as Ingus Baušķenieks of Dzeltenie Pastnieki and Edgars Šubrovskis of Hospitāļu Iela, whose work played a key role in shaping Latvia’s alternative music scene.

Bukums also emphasizes the absence of effective marketing support and professional platforms for alternative and rock musicians in Latvia. Radio airplay is extremely limited and rarely includes young or emerging artists, while there is a lack of industry specialists who could assist musicians with promotion, management, or career development. As a result, a functional market for alternative and rock music has not fully developed, and meaningful competition between artists remains minimal. However, Bukums identifies one positive aspect of this situation: the high degree of creative freedom it affords musicians, who are able to create without commercial pressure or the need to conform to prevailing trends or external expectations.

Jānis Bukums is as an intelligent and knowledgeable professional with a deep understanding of his industry… the journey musicians take. Beneath his metal-rock appearance lies sharp insight, and a clear sense of direction for where the music industry can and should go. His humour and sarcasm uplifts the pessimistic reality.

To learn more about his journey and perspective, check out the full interview:

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Inviting music writers, scholars, students, researchers, musicians, critics, and cultural commentators to submit abstracts for presentations

Call for Papers: Grunge Included 2026

“Come as You Are” and bring your ideas.

The Grunge Included Conference 2026 invites music writers, scholars, students, researchers, musicians, critics and cultural commentators to submit abstracts for presentations exploring the multifaceted legacy of grunge music and culture. This multidisciplinary conference aims to examine the evolution, context and continuing impact of the grunge movement from its origins in the Pacific Northwest to its lingering influence in global music and culture today.

We welcome contributions from a wide range of disciplines, including (but not limited to) musicology, music, ethnomusicology, sociology, fashion studies, history, political science, media studies, graphic design and cultural studies. Whether you’re dissecting the distortion pedals of Mudhoney or tracing the lineage from Cobain to contemporary alt-pop, we want to hear Your voice.

Suggested (but not limited to) Topics:

• The Pacific Northwest Sound: Seattle’s cultural and geographic role in shaping grunge

• Grunge & Politics: Anti-establishment ideologies, Gen X cynicism, and counterculture

• Grunge Aesthetics: Fashion, visual art, album design, and the rejection of glamour

• Musicological Analyses: Song structure, guitar tones, vocal styles, lyrical themes

• Ethnomusicology of Grunge Scenes: Local scenes, DIY venues, and community practices

• Grunge vs. the Mainstream: Industry commodification and authenticity debates

• Post-2000s Echoes: Grunge’s influence on indie, emo revival, alternative rock, etc.

• Subgenres & Hybrids: Post-grunge, sludge, noise rock, and genre-blending acts

• Cultural Impact of Key Artists: Nirvana, Soundgarden, Pearl Jam, Alice in Chains, Hole, and others

• Grunge Across Borders: International responses and adaptations of the grunge ethos

• Grunge and Identity: Gender, race, and representation in the scene and beyond

• Present-Day Relevance: How grunge continues to shape contemporary sound and attitude

Submission Guidelines:

Select a ‘Paper Submission’ ticket on Eventbrite, then follow the steps below to submit your paper. This ticket includes attendance to Grunge Included 2026.

• Abstracts: 250–300 words (Your presentation should be no longer than 15 min.)

• Include: Title, author name(s), institutional affiliation and a brief bio (100 words max)

• Formats Accepted: Individual papers or multimedia presentations

• Submit to: 46ee0589.yorksj.ac.uk@uk.teams.ms with ‘’Grunge Included 2026 Submission’’ in the subject line

Deadline: July 1, 2026

To apply or find out more, please visit: Grunge Included 2026

If you have any questions about your submission, or the event, please contact grungeincluded@gmail.com

Read the second part of the interview below with Pēteris Kvetkovskis.

A lot has influenced us from the beginning, we have not only listened to metal music but varied other music. Every member listened to different music and this has influenced us independently. This did include Latvian musicians too.

In the 80s in Latvia, popular music scene was highly developed. Many bands were established which followed the trends and tendencies, and sang in Latvian language. They began to play heavy rock and metal even. There were bands like Līvi, Opus Pro and Jumprava. I think, the music from this era has influenced us. I can’t say we were fans of these bands as being part of the youth, we of course were into bands from abroad. The biggest influence was from English, German and American bands…from AC/DC, Judas Priest, Metallica, Slayer and so on. The inspiration we got from these bands was the rebellion of the youth against the ‘stale’ society against the Soviet ‘machine’. The rebellious spirit was what we liked, the harshness of heavy metal…lyrics. We liked all of it and it left an impression on us.

Rock music started in Latvia in the 1980s, alongside the stagnating and suffocating ‘Soviet machine’, when finally people could start to express themselves. You could listen to bands from abroad, see a little bit of something foreign. The big influence from this could be seen by the cover bands, imitators of pop music from abroad. In the 1990s, heavy metal bands emerged underground and the scene was honestly, very developed. There were many bands and it happened as in a parallel universe, in another separate world…away in the basements, underground…and the State was not interested in it. Not interested in what the bands do or sing about. The only thing that happened was sometimes at a gig, concert…militsiya….or police ( whatever was at that time) arrived and chased away the crowd- if it was too crazy, too loud…or if the people were too drunk. But it was caused because of that nature, all the chasing wasn’t that political.

During those times, there were problems with instruments. There were more technical problems at that time. People at that time were very enthusiastic. All this music was created for enthusiasm. There were shitty guitars, but it wasn’t a big deal.

I really like that enthusiasm. The music that this enthusiasts made, it was all truly honest. Now the times have changed, I don't see such enthusiasm. Back in those days, the bands did not receive any money for the performances. You had to invest your own money to be able to play and attend a concert. I have noticed that today, you can listen to it all, see it, learn it on YouTube, create a band and instantly people want to know how much you will get paid for it. Be a musicians to purely receive money, without investing any emotional depth and creativity into your work. Everyone wants to take money for everything. Take a lot of money for everything. But I look at it from the point of view of the 90s, that this amount is inadequate, that the work is not so hard and difficult to pay the most enormous amount for it.

Talking about heavy music, it is commercialized. Projects are created, specifically, to play at big festivals, where the main idea is to earn money, to attract the audience. They are already created as commercial band. In contrast to the times of my youth, when everything was played and made by enthusiasts, today people do it with [money] calculation in mind. I don't like that approach.

I listen to new music, but it is very difficult to find something that I like. From 100 bands, maybe I will find only one that I like. There is a lot of repetition, imitation, new ideas are almost zero. If during my youth, music and genres changed, and developed rapidly, from hard rock to heavy…music became more aggressive, from trash, death, grind, doom to black….these style always showed new ideas. It grew and grew to the point that you can't take in one thing, when already the next one emerged. So, in my opinion, all of it has kind of stopped ages ago. Everything now is somehow called new, but it is the same old ideas, called by other new names.

Possibly, this music is exhausted…burned-out itself. This degradation will continue possibly for a while, maintain a pause…until some genius will think of something new.

Of course, I may be old-fashioned, but I don't see this kind of enthusiasm, which was in my youth. Of course, these were the first time of freedom, when everything opened up, when you saw what you couldn't see, when it was finally accepted, and it gave a massive push.
Maybe all this rock music has already started to settle down, and this genre has started to only survive now. Maybe that's why we don't have this kind of enthusiasm. Maybe, on the contrary, young people can be seen that they would want to go back to those 80s, and to the 90s, to the time of those bands.

This differences between Latvia and Lithuania in the past was much bigger in the 90s. I am talking more about my music genre, about folk pagan metal, which in Lithuania at that time was a very developed. There were many groups, but it was all, as I call it, Lithuanian style. It was very unique, and they were different to everyone else. This music that it created was unique, but somehow it all ended and stopped for them. Finnish music, heavy music, is recognizable, but at the same time, there are a lot of groups that try to play various styles with various influences. You can never say that only this kind of music is played exclusively in Finland, or Lithuania, or Estonia, or Latvia. Not a single Latvian group does what we do, no one imitates us. In contrary, like it is recognized in many other countries, for example, in America, where one group becomes popular and thousands follow it…try to the the same thing. Not in Latvia, not in Lithuania, not in Estonia, not in Finland- it is not like that. Finland is a bit more different, Finland is, as far as I know, very developed. In schools they learn and popularise rock music. Unfortunately, Soviet heritage still drags in with us [Latvia], where heavy rock music was considered white noise, something bad, forbidden and not taken seriously. Not recognised to be part of cultural elements of the nation.

I can’t say that people from South or North America would be interested in our music. There is a part who liked it. Why do they like it? Because, I think that the Baltic States are still very unknown. Everything about them is vague and ‘fogbound’. Plus, we we sing about the Latvian and Baltic history which many people in the world don’t know about. With that, we may also differ from other groups. In a sense, you can only attract interest by making something of your own…unique.

In Latvia, Lithuania and Estonia there are a lot of groups that copy their American or English idols. They look and sound the same, and not one of these groups has great interest because they are specifically from the Baltic States. The fact that you are from the Baltic States does not play a big role here. The most important thing is how original your ideas are, your music, that is what can attract people. If you are from a small country, you do not have much opportunity to spread your music around the world and spread your word on YouTube. You cannot get as many likes on your YouTube videos, as people who come from big countries like America and Germany can.

I do not see any difference between people who come to concerts in America, Europe, Latvia or anywhere else. They all are united by heavy music and subcultures have their own unwritten rules that unite people. It does not matter what country you come from, what ethnicity, race or what language you speak…What unites all those people is music.

As you can see, we also sing in Latvian. If back in the time…the 80s, there was a need and request to sing in English or your path outside your border would be closed…Today that ideas is over, especially, in metal music. If you sing in English, people don’t always understand what you sing, because of specific way and manners of singing. On the internet today, if you are interested in what the lyrics are about, you can read/translate it all. It is possible that this factor also creates a specific identity for the bands, which audiences are interested in.

For example, there was a time when there was a misunderstanding when we released Kurbads (2010) album and somehow people thought the whole album would be in English. You could see that people were judgemental and critical of this thought, they were questioning… as we sing Latvian all the time…and out of nowhere again - English? Which was not the case.

Thank you for reading…In case you missed Part I:

Read the second part of the interview with Normunds Vaivads [Lieutenant Colonel and Chief Medical Officer in the Medical Service of the Joint Headquarters of the National Armed Forces (NAF) in Latvia] from the band Auļi, discussing paganism, music and reflection throughout decades.

Why are Latvians proud and interested in their pagan roots? Do you think that will ever change? Why is it important for the band Auļi to write music about mythology, folklore, military elements and paganism?

Latvians are still strongly influenced by 19th century national romanticism, when Europe was a time of nation-building VS dynastic formations of empire-house poly-national states. At that time, under the influence of primordialism, many historical myths were created to highlight the importance of nations, self-identification by analogy with and in competition with the heroic deeds of the ruling dynasties of empires... often they were scientifically unfounded and with strong political overtones. Culmination for these tendencies were in the end of World War I, when 4 major European empires collapsed and nations gained the right to self-determination, creating states that were then national with a strong baggage of historical myths.

Subsequently, after the Second World War, anthropology and historical scholarship focused not on the mythical feats of the ruling classes (conquests, heroics, etc.); but national cultural accents - how people lived, what were their moral values, everyday life, human cooperation, individual feelings, dreams, longings, responsibilities, family events, neighbourhood work and the annual ritual in nature, in the neighbourhood, the interaction of man and local society in the cycles of nature and life... which were in line with the current issues of self-consciousness and individual identification of S.Freud, C.G.Jung etc…

And the Latvian cultural heritage in Dainas [traditional Latvian poetry and music] and in their singing is directly related to the exploration of the moral and ethical code of the individual, the family, the household in living, in the cyclical processes of nature, in finding one's place and meaning in it and in being part of the order of the Creator of the world... starting with everyday life, everyday life.... and cultural rituals, including songs, dances, allow us to return to the right, natural order, starting with the right emotional, intuitive feeling, attitude towards whatever is happening.

Orig. Latviešiem vēl joprojām spēcīgas ir 19. gadsimta nacionālromantisma ietekmes, kad Eiropā bija nāciju pašapziņas veidošanās laiks vs dinastijas impēriju namu polinacionālo valstu veidojumiem. Tai laikā primordiālisma ietekmē tika veidoti daudzi vēsturiskie mīti , lai izceltu nāciju nozīmību, pašidentifikāciju pēc analoģijas ar impēriju valdošo dinastiju varoņdarbiem, konkurējot ar tiem… bieži tie bija zinātniski nepamatoti un ar spēcīgu politisku pieskaņu. Kulminācija šīm tendencēm bija 1.Pasaules kara beigas, kad sabruka 4 lielas Eiropas impērijas un nācijas ieguva pašnoteikšanās tiesības, izveidojot valstis, kuras tad bija nacionālas ar spēcīgu vēsturisko mītu bagāžu. Pēcāk , jau pēc 2.Pasaules kara antropoloģijā un vēstures zinātnieku fokusā nonāca nevis valdošo slāņu mītiskie varoņdarbi (iekarojumi, varonības etc.), bet tieši tautas kultūras akcenti - kā dzīvoja cilvēki, kādas bija to morālās vērtības , sadzīve, dzīve, cilvēku kooperācija, indivīdu sajūtas, sapņi, ilgas, atbildība, ģimenes norises, apkaimes darbu un gada rita norises dabā, apkaimē, cilvēka un lokālās sabiedrības mijiedarbība dabas un dzīves ciklos… kas saskanēja ar Z.Freida, K.G.Junga etc. pašapziņas un indivīda identifikācijas aktualitātēm…Un latviešu kultūras mantojums Dainās un to izdziedāšanā ir tiešā veidā saistīts ar indivīda, ģimenes, saimes morāli ētiskā koda izzināšanu dzīvošanā , cikliskajās dabas norisēs, savas vietas un nozīmes atrašanā tajā un iekļaušanās pasaules Radītāja kārtībā… sākot jau ar sadzīvi, ikdienu….  un kultūras rituāli , t.sk. dziesmas, dejas ļauj atgriezt pareizo, dabisko kārtību, pirmkārt jau sākot ar pareizo emocionālo , intuitīvo sajūtu , attieksmi pret jebko notiekošo…

When talking about Latvia, what is important for the Latvian audience? Is music inspired by paganism part of Latvia's identity? Is metal and rock music the identity of Latvia at all?

Latvian listeners are different, it must be said that EU DEI's multiculturalism on the one hand dilutes the heritage of local regional ethnic groups, but on the other hand allows it to manifest itself, because in the deepest essence, people in the world have very similar moral and ethical principles... voices of conscience... understanding of the beautiful, right/good and the essential... Consequently, if the essential code is essentially the same, then only the question of its artistic expression and distribution remains. And there is a place for the creative element. Whether it's rock or world music, or metal, or folk, the main thing is the message - what it is, what it causes... Aulis try to perceive the message of the good, right, natural, created by their ancestors, and by creatively arranging it, bring it further . As it has been said in the past - you have to be able to grasp its spiritually intuitive verticality in such a way that by spreading it horizontally in society, a vertical connection is created again for every recipient...

Orig.Latviešu klausītāji ir dažādi, jāsaka, ka EU DEI multikulturālisms no vienas puses izšķaida lokāli reģionālo etnosu mantojumu, bet no otras puses ļauj tam izpausties, jo pašā dziļākajā būtībā pasaulē cilvēkiem ir loti līdzīgi morāli ētiskie principi… sirdsapziņas balsis … sapratne par skaisto, pareizo un būtisko… Līdz ar to , ja pašā būtībā esenciālais kods ir līdzīgs, tad atliek tikai jautajums par tā māksliniecisko izpausmi, izplatīšanu. Un te ir vieta radošajam elementam. Vai tas būtu roks vai world music, vai metal, vai folk, galvenais jau ir tas vēstījums – kas tas ir, ko tas izraisa… Auļi cenšas uztvert savu senču savulaik izveidoto vēstījumu par labo, pareizo, dabisko un radoši to aranžējot, nest to talāk. Kā savulaik ir teikts – ir jāmāk satvert tā garīgi intuitīvā vertikāle tā, lai izplatot to tālāk jau sabiedrībā horizontāli, ikvienam saņēmējam izveidots atkal vertikālā saikne…

Have you ever faced criticism from Latvian institutions, religious institutions/members because of your music? Were you worried about writing music in a folk/pagan style? How did the audience react to you in the 2000s and today? Has the audience changed?

No, we have not directly received any condemnation. Once, at a festival, among the listeners was the Metropolitan of the Riga Archbishop of the Roman Catholic Church in the first row, and we were not sure if we could play our music... but the Catholic Church in Latvia is very inclusive and syncretic, and if there is no idol worship ritual performed, it is able to distinguish the difference from traditions & culture performance as an artistic value, rather than worship of idols...
If we talk about writing music, then, as already mentioned, we give the positive, natural, the beautiful of our ancestors, we don’t carry hatred, aggression and denial, so we have no worries about the creative expression of music... if children react so positively to us, then it nothing can be denied…

About the audience - it's probably the case that the ethical code of the ancestral culture always positively appeals to everyone at any age, as long as they perceive it... if the archetype works, then it manifests itself...

Orig. Nē, tiešā veidā neesam saņēmusi nekādu nosodījumu. Reiz vienā festivālā starp klausītājiem pirmā rindā bija Romas Katoļu baznīcas Rīgas arhibīskaps metropolīts un mums bija neziņa, vai varam tad spēlēt savu mūziku… bet katoļu baznīca Latvijā ir ļoti inkluzīvi sinkrētiska un ja netiek veikts kāds nepārprotams elku kulta rituāls, tad tā spēj atšķirt tradīciju kultūras izpildījumu kā māksliniecisko vērtību no elku pielūgsmes…Ja runā par mūzikas rakstīšanu, tad, kā jau minēts, mēs dodam mūsu senču pozitīvo, dabisko, skaisto, mēs nesējam naidu, agresiju un noliegumu, tāpēc nekādu bažu par mūzikas radošo izpausmi mums nav… ja bērni tik pozitīvi reaģē uz mums , tad tas nevar būt nekas noliedzams…Par auditoriju - tur laikam ir tā, ka senču kultūras ētiskais kods nemainīgi pozitīvi uzrunā ikvienu jebkurā vecumā, ja vien to uztver… ja arhetips nostrādā, tad tas arī izpaužas.

What was the music scene like in the 1990s? Considering the fall of the Soviet Union in 1991, did this event have an impact on you and your music? In 2003, you founded the group. Was there still uncertainty, confusion in music and society after regaining freedom?

The activities of the Latvian folklore movements contributed to the fall of the Soviet Union, which was like a protest for survival of the ethnos by maintaining self-identification against the efforts of the Soviet regime to Russify and sovietize all the Soviet ethnic groups/ethnos, eradicating their cultural traditions, degrading the heritage of their ancestors, in a nuanced way - not by banning, but through allowing them to be profaned, distorted and vulgarized…. Folk music ensembles were created in the Soviet Union, but their songs, performance, dances were censored, changed, distorted so that after time the people no longer knew what was the true heritage and what was a Soviet distortion... The 5th administration of the KGB strictly followed whether there was an anti-Soviet sentiment and tried to introduce an agency network in any organization, making sure that there were no pro-Western, capitalist views... Rock groups were especially strongly targeted, but folklore movement groups did not express capitalism and their existence was legal, but controlled (folklore groups were only allowed to be at Soviet houses of culture, which were controlled KGB, not by themselves).

Therefore, the folklore movement of the 80s of the 20th century with its Latvian cultural and historical heritage flourished strongly even in the 90s, when after the collapse of the Soviet Union there was a strong economic crisis, but ethnic self-confidence played a miraculous role - hearing the rhythms of the ancestors, the music of the ancestors, the code of its message, the Latvian ethnos had such a strong national self-awareness that it was called the nation's Third Awakening. 1990 the people were extremely united on The Barricades, there was an incredible intuitively emotional spirit of elevation and unity, the awareness of the true culture of the people's ancestors released the archetypes and their manifestations. In 2003, enthusiasts who were already involved in folklore groups of the 80s and 90s gathered in Auļi, and Auļi successfully occupied the continuation niche, no longer in folklore, but in its continuation... as world music (at that time we didn't know that term).

Orig.Padomju savienības krišanu veicināja tieši latviešu folkloras kustību aktivitātes, kas bija kā etnosa izdzīvošanas pretestība ar  pašidentifikācijas noturēšanu pret padomju režīma centieniem ruisificēt un sovjetizēt visus padomju etnosus, izskaužot to kultūras tradīcijas, degradējot to senču mantojumu, pie tam niansētā veidā – nevis aizliedzot, bet caur atļaušanu tās profanējot, izkropļojot un vulgarizējot…. Padomju savienībā tika veidoti tautas mūzikas ansambļi, bet to dziesmas, izpildījumu, dejas cenzēja, mainīja, sagrozīja tā, ka pēc laika tauta vairs nezinaja, kas ir patiesais mantojums un kas ir padomju izkropļojums… KGB 5.pārvalde stingri sekoja vai pastāv antisovjetisks noskaņojums un centās ieviest aģentūras tīklu jebkādā organizācijā, sekojot, lai nav prorietumnieciski, kapitālistiski uzskati… Īpaši stingri vērsās pret roka grupām, bet folkloras kustības kopas nepauda kapitālismu un to pastāvēšana bija legāla, bet kontrolēta (folkloras grupas drīkstēja būt tikai pie padomju kultūras namiem, ko kontrolēja KGB, nevis pašas par sevi). Līdz ar to 20.gadsimta 80.gadu folkloras kustība ar savu latviešu kultūrvēsturisko mantojumu spēcīgi uzplauka arī 90.gados, kad pēc padomju savienības sabrukuma bija spēcīga saimnieciskā krīze, bet etnosa pašapziņa nospēlēja brīnumainu lomu – dzirdot senču ritmus, senču mūziku, tās vēstījuma kodu, latviešu etnosā bija tik spēcīga nacionālā pašapziņa, ka to nosauca par tautas trešo Atmodu. 1990.g. tauta bija ārkārtīgi vienota uz barikādēm, bija neticams intuitīvi emocionāls pacēluma un vienotības gars, patiesās tautas senču kultūras apzināšanās atbrīvoja arhetipus un to izpausmes.  2003.gadā Auļos sapulcējās entuziasti, kuri jau bija iesaistīti kā 80.g., tā 90. gadu folkloras grupās un Auļi sekmīgi aizņēma turpinājuma nišu jau vairs ne folkloras, bet tās turpinājuma izpausmēs… kā world music (tolaik vēl tādu nosaukumu nezinajām). 

Looking back to the 2000s, 2010s and 2024 - what are the biggest changes you see in the music industry and music community in Latvia?

Music is becoming more and more advanced and professional, as well as more technical, for example Dolby Atmos (Auļi recorded their last albums in this format), everyone is becoming more and more knowledgeable about music. Also within cultural heritage, more authentic sounds and their performance instruments are understood, ways of performance, because
i-net communication makes it possible to communicate much more successfully and the exchange of information is much more intensive... International projects have also grown significantly...

Orig.Mūzika kļūst arvien augstāk profesionāla, kā arī tehniskāka, kā piemērs Dolby Atmos (Auļi savus pēdējos albumus ieraksta šai formātā), mūzikā paliek arvien zinošāki, tai skaitā arī kultūras mantojumā, tiek izprasti vairāk autentiskie skaņu un to izpildes instrumenti , izpildes veidi, jo i-net komunikācija ļauj sazināties daudz sekmīgāk un informācijas apmaiņa ir daudz intensīvāka… Ir ievērojami pieauguši arī starpnacionālie projekti…

What is the main goal of your group Auļi, the story? What do you want to tell your listeners?

We do what brings us joy and what we love to do... And we will be together and do it as long as we have a common joy in it... And if you do what brings joy to yourself and others, then you have to believe in it, it has to be done and then everything will work out...it always works out!

Orig.Mēs darām to, kas mums sagādā prieku un ko mums patīk darīt… Un mēs būsim kopā un to darīsim tik ilgi, kamēr mums būs kopīgs prieks par to… Un ja dara to, kas sagādā prieku gan pašiem gan citiem, tad tam ir jātic, tas ir jādara un tad viss arī izdosies… tas vienmēr izdodas!

Do you have a motto? What would you wish for younger generations?

"Life is Auļi !!!" (Auļi - the word has several meanings, it's the buzzing of bees, like the sound of bagpipes, and it's the galloping of horses, like the rhythm of drums, but it's also the name of the group, and we energetically and determinedly go into challenges, projects like galloping with horses).

We wish you to believe in yourself, believe in what you are doing, if you feel that it is good and you will succeed!

Orig.“Dzīve ir Auļi !!!” (auļi – vārdam ir vairākas nozīmes, tā ir bišu sanēšana, kā dūdu skaņas, un tā ir zirgu auļošana, kā bungu ritms, bet tas ir arī grupas nosaukums, un mēs sparīgi un apņēmīgi dodamies izaicinājumos, projektos kā auļodami ar zirgiem)…

Novēlam ticēt sev, ticēt tam, ko darāt, ja jūtat, ka tas ir labi un jums viss izdosies!

In this second part of the interview, learn more from Lauri Õunapuu from Metsatöll.

Why do you think audiences from South America are interested in music from the Baltics? Your own music? These are different cultures, what makes them relate to this music? What makes music from Estonia/The Baltics unique?

As you know very well, South America is a large continent with many different cultures and peoples with many different roots, with their mixed cultures, with different visions of the rest of the world. I cannot say that the peoples of different cultures there are in any way particularly interested in the culture of the Baltic nations. However, there is probably a tendency that different peripheral parts of the world feel more about the outlines of traditional cultures, so they can perhaps better understand the history of cultures and their special features, even if they don't know much about it. Traditional worldview, mythicity that tends to disappear, village culture, mythical thinking - this is closer in time in rural areas than in the urban population of developed countries.

Being at a medieval festival in Brazil with Metsatöll, it seemed interesting that the new culture there - probably the urban people who immigrated from Portugal, etc., the core of the repertoire and image of the local "folk" bands there formed the pirate-romance, the culture of the conquistadors. But not the culture of the local forest peoples, the culture of the native people of South America.

I believe that they do not see, distinguish and feel the music or culture of the three small Baltic countries in any special way. Also, pseudo- or arranged culture inspired by the indigenous culture and spiritual heritage of our peoples. However, they appreciate the "real" thing being presented.

Do you see musical differences between Finland, Estonia, Latvia and Lithuania? What are they? What makes Estonian music different compared to the rest of Baltics?

Since my daily work is related to traditional folk songs, their roots and influences, I can confidently say that the music of each country has similar and also different features. Here, too, when talking about Finnish music, for example, it depends on what we are actually talking about - what we consider to be Finnish music is cultivated in a very wide territory, some of which is not located in the state of Finland today. There are also many different cultures in the country of Finland, which stand on different bases, even Finnish-Swedish and Sami. We can talk about Baltic-Finnish (Läänemere-Soome - the area around the Baltic sea) culture in the case of Finland, Karelia, Votic, Ingrian and Veps, as well as Livonia and Estonia . We cannot directly transfer this to the different regions of Latvia and Lithuania (although Latvia has historical regions and villages related to Estonian culture and -language). However, we are culturally very closely connected with the Latvians, in historical clothing-fashion, traditional art, etc. We also share a folk instrument, which is "kannel" in Estonia, from Finland to Lithuania. The playing techniques are different, the construction of the instrument is sometimes different, and the instrument tunes are also different, but we can say that it is generally the same instrument.

It is also interesting what fundamental myths are spread in Latvia about certain historical concepts. But, of course, it can be said that Estonia is not much different from this either - Estonians are generally not aware of their roots and cultural background either (and probably neither are representatives of other nations). I frequently come across the the same old myth about Latvian bagpipes that they have been described in chronic since the 16th century, in Livonia. This is an absolutely false statement that is repeated in Latvian researches again and again. Also, the myth in some countries, that the Estonian culture and language are somehow very close to Swedish, it honestly makes me shrug my shoulders!

Of course, it is very good that different theories and ways of interpreting history are present. However, hypotheses should be separated from facts that cannot be overlooked. After all, it is known on what inspired the illustrations made in our churches and pictures in books, and travel notes. And who were the artists and where they lived and where studied (usually). It is also known (usually) where and when the chroniclers of the time travelled and passed through. Based on these facts, we can conclude many things, that is not difficult.

The Chronicle of Renner and Russow of the 16th century tells about Estonian peasants who played bagpipes. In researches, "Vidzeme" has often been interpreted as Northern Latvia, which is not true. Even if you take the whole historical Livonia as "Vidzeme", which reached half of Estonia, this concept of Northern Latvia does not extend north to the Gulf of Finland, try as hard as you may. It is also a skewed conceptions in Münster's Cosmographia. And it gets even more interesting - Vidzeme and Livonia is also interpreted as Latvia, instead of Northern Estonia, although it has never been nor Latvia, nor Livonia, the corresponding note is in Olearius's travelogues (with the corresponding engraving by Rothgiesser, there you can see Estonian bagpipe-player in a wedding), where the action takes place in Kunda and Viru-Nigula.  And this is not a matter of interpretation, but basic fact-based source knowledge.

Of course, there is always the question of what we mean by "our" - country, language, culture, genetics? In this sense, the interpreters would have the right to put our entire cultural area under the name "we", but it could not be interpreted as a country, nor nation, called "Latvia" or "Estonia". Even more - if we talk about bagpipes, the oldest bagpipe reports in our area are from Novgorod, with whom we also shared culture, even to the extent that there are corresponding dictionaries written on birch-bark from 13-14 c. Although the word "duda" is mentioned for the first time in Tönnies Fenne's dictionary together with the Low German translation "sakpype" in 1607. However, parts of the 14th-century bagpipes have been found during excavations in old Novgorodian area (not to be mixed up with Russian state and Muscovites). Also, the Martebo church in Gotland has a (albeit German-style) decoration with a piper from the 13th century. They could also be considered "Latvia" as a country? For some reason, some researchers have not done this, because probably earlier researchers have not interpreted it this way.

What can be concluded from all this is that the bagpipe has been known in this area for a very long time, there is no reason to believe that this instrument was not already known here in the 16th century, BUT rather several centuries earlier. However, there is no basis for proof that the 16th century was the beginning of Latvian bagpipes. If we continue to talk about bagpipes, Latvian and Pärnu-type bagpipes are very similar. One might even think that Livonians and Latvians got the bagpipes from Estonia, who learned from whom, when and under what motives - no one knows that. Also, the Swedish bagpipe is very close to the Estonian pipe, it is the same family of instruments that was known around here.

But, like I said, I'm very, very happy that there are people, that there are scientists and hobby-researchers who have the opportunity to deal with traditional culture, who are not afraid when publishing articles that after years the concept of history may change, new facts and proofs, sources may be found. It is very important that the national funding of so-called "soft" sciences is also continued. Also science that deals with issues of nationality and national culture, that in some point could be have no meaning in the future.

It is always interesting to think about the conception of "they" and "we". We have pure luck that we have the opportunity to be a nation in our own state. However, we must never forget that the state, genetics, culture and language are quite different phenomena, which do have points of contact, but we cannot draw an equal sign between them. We have to hold on to what we have, because it makes us a nation with its own identity, its own distinctiveness, and thus gives the answer to humanity's biggest question; Why?

Are Estonians proud of their pagan roots? And why do you think it is important to showcase national identity through discussing mythology/paganism within music?

Estonia has no connection with "Pagan roots ". Here the "pagan" means should be defined. Let's leave aside the etymology that roams the name-calling and nicknames between Roman soldiers, local villagers and Christians, and non-Christians and non-military. What do we mean by the word "pagan" today - a non-Christian or a pre-Christian time period? In this sense, the whole world can be summed up with the word pair "pagan roots". Christianity itself has also been adopted from a mixture of traditional myths, fairy tales, folk-customs and stories. Therefore, Christianity has also "pagan roots".

Of course, the Balts also have a pre-Christian era. The peculiarity of Estonia, however, is that we as a nation have never adopted the Christian worldview - they have tried to integrate it into the culture. Estonians themselves have also tried to do this, but fortunately or unfortunately culture works differently - there will never be a final end to one cultural phenomenon and the beginning of another from a white and clean page.

Music and songs don't end overnight and new music and new songs don't start the same way, we are lucky that in such a periphery and wild thinking as has been preserved in Estonia for a very long time, that part of ancient music and worldview is preserved, which has been lost in many other countries. The language and motives in the songs that were written down 70 years ago, many of them are from a mythical era, which is even difficult to grasp - the language has been preserved in songs for 700-1000 years, but the topics that some songs talk about can be 2000-4000 years old.

When talking about mythology and folk culture, it should be noted that modern people don't know much about it, during the period of national awakening (which was all over Europe) a lot of new mythology, pseudo-mythology was written, as if ashamed of their own and genuine culture - it happened on a similar basis in all the Baltic countries. Even today, there are enough hobby historians and naïve people mixed with new-age world-view who truthfully talk about their own culture, which has absolutely no background. Such pseudo-historians and pseudo-folklorists do a disservice to the nation's sense of its own culture and understanding of folk culture. The great myth of happy and harmonious pure nation and its culture is the biggest mishandling of a national thinking.

What is important for the Estonian listener? Can you say that pagan music is part of Estonian identity? Is metal or rock part of Estonia’s identity?

Again, there is no music that can be categorized under the words "pagan music". Therefore, understanding it or not understanding it is not a question. In Estonia, the understanding of the old culture has been devalued due to the Soviet era and the naïve approach to folk culture before that. They wanted to turn village music into something that would be acceptable to modern people. Which would bend to the requirements of safe music of modern times. Not paying attention to the fact that the music that was cultivated hundreds of years ago is far from being comparable to the modern developed form of music.

Therefore, it is very important that recognized specialists in their field are asked to speak and present folk songs and folk culture. However, it is understandable that it is very difficult to find a media surface and an application for it. Just because of the same two absolutely different worlds. Music that does not seem comprehensible and safe to a modern person, he treats it with a certain reservation, perhaps also feeling embarrassed by the primitiveness of his culture. Fortunately, there are those who think the opposite, learn songs and instrumental music from archive recordings (use it with respect, both sc. "high" and in terms of our understanding of "low" culture) and do not follow the pseudo-historical and pseudo-mythological path.

Have you ever faced criticism from political powers or government, religious establishments, or individuals because of your music? How did audiences react to your music at the start, at 1999?

In the early years of the ensemble, of course, partly also due to our ability to play the instrument not so well, there were quite a few indicators and laughs behind our backs. But, the understanding that it is also possible to play music in Estonian in the outside world, it changed sometime in the 2000s. I believe that also was a little in connection with Metsatöll. Metsatöll was and is therefore like every Estonian thing - there are still people who want to tell all people, that we should do this or that, how we should do it, where we should go and what we should sing.

What was the music scene in the 90s in Estonia? Considering the fall of the Soviet Union in 1991, what impact did this leave for you and for the music in Estonia?

The music of the 90s was almost the same in Estonia as in other parts of Europe, music that seemed popular was played by radio stations. Compared to the Soviet era, there were fewer popular professional jazz musicians, the music that used to be (and whose quality) was controlled by certain institutions no longer appealed to young people. They didn't appeal to the masses either, they wanted what was popular elsewhere - mostly simple synthesizer pop of low artistic quality.

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In case you missed part I:

Photo ©Metsatöll

In this first part of the blog, I had the great honour to interview the oldest member of the band- Normunds Vaivads (Latvian bagpipes, vocals), who has been with the band since their first performance. He is also the Lieutenant Colonel and Chief Medical Officer in the Medical Service of the Joint Headquarters of the National Armed Forces (NAF) in Latvia.

Why is music important for Latvians? Why are traditional folklore & pagan music and instruments from these genres important in Latvia?

Latvians are sometimes referred to as the "singing nation". For us, culture is an important factor of self-identification and public socialisation factor, both as an ethnos and as a nation. Folklore music, ancestral heritage, is not only a phenomenon of intellectual consciousness and awareness, but it also touches the archetypal emotional and intuitive sphere.

Orig. Latviešus reizēm dēvē par “ dziedošo nāciju”. Mums kultūra ir svarīgs pašidentifikācijas un sabiedriskās socializācijas faktors gan kā etnosam, gan ka nācijai. Folkloras mūzika, senču mantojums nav tikai intelektuālās apziņas un apzināšanās fenomens, bet  tas skar arī arhetipisko emocionālo un intuitīvo sfēru.

In the early days of Auļi.… what other bands and musicians inspired you and why? Which Baltic musicians and politicians inspired you? Did groups from America, Finland and Russia make any impression on you?

Auļi originally was established as a drum rhythm group, which would be accompanied by bagpipe music. The idea and intentions author was Mikus Čavarts, the drummer of the group Auri, who is also the founder of Auļi, calling the first line-up of the band in 2003. After just a couple of months, the rest of the members were gathered and the group was searching for its own path- discovering what would be the directions, steps [and plans] for the band. Musicians related to folklore in Latvia are well known to each other, so Auļi was well aware of the activities of other folklore groups and was also had members that were in other groups.

The band "Iļgi" were especially close as strong representatives of the post-folkloric movement. At the same time, there was also an interest among Auļi to start playing original medieval music. As a result, a direction that we ourselves called "ethnotrance" has prevailed (that's what we were called at one festival) - we are influenced by the folklore music heritage of our ancestors, we draw inspiration from it, but we make our own arrangements, transferring the influences of the music of that time in our reflections to today, modern performance in a characteristic handwriting, continuing the legacy of the ancestors, but not in a direct, copied, authentic way of performance.

Bagpipes and drums in Latvia, as in Livonia have been described in chronicles since the 16th century and we continue to maintain this tradition, but we cannot be considered a pure folklore group. Over time, we realized that the heritage of our ancestors is very close to many peoples, so we also cooperate in the sphere called "world music" (our project Voices of the Ancestors - Austria, Finland, Mongolian partners). US, Finnish and Russian groups have not made a big impression on us. Auļi are not related to politics and politicians do not influence us.

Orig. Auļi pirmsākumā tika iecerēti kā bungu ritma grupa , kurai dūdu mūzika būtu pavadoša. Ieceres, idejas autors bija grupas Auri bundzinieks Mikus Čavarts, kurš arī ir Auļi dibinātājs, sasaucot pirmo sastāvu 2003.gadā. Jau pēc pāris mēnešiem, papildinot Auļi ar pārējiem mūziķiem, grupā bija sava ceļa meklējumi, kādas būs radošās tālākās darbības virzieni. Ar fokloru saistītie mūziķi Latvijā ir labi pazīstami savā starpā, tā ka Auļi labi pārzināja pārējo folkloras grupu darbību un arī paši bija citu grupu dalībnieki.

Jo īpaši tuvi bija “Iļģi” kā spēcīgi postfolkloras virziena pārstāvji. Paralēli Auļi vidū bija arī  interese uzsākt oriģinālās viduslaiku mūzikas atskaņošanu. Rezultātā virsroku ir guvis tāds virziens, ko mēs paši dēvējām par “etnotransu” (tā mūs nosauca vienā festivālā) – mēs ietekmējamies no senču folkloras mūzikas mantojuma, smeļamies no tā iedvesmu, bet veicam savas aranžijas, pārnesot tā laika mūzikas ietekmes savās refleksijās uz mūsdienām, mūsdeinu izpildījumu sev raksturīgā rokrakstā, turpinot senču mantojumu, bet ne tiešā , kopētā autentiskā izpildes veidā.

Dūdas un bungas Latvijā kā Livonijā ir aprakstītas hronikās no 16. gadsimta un mēs turpinām uzturēt šo tradīciju, bet mūs nevar uzskatīt kā tīro folkloras grupu. Ar laiku mēs guvām atziņu, ka senču mantojums daudzām tautām ir visnotaļ tuvs, tāpēc mums ir sadarbība arī sfērā, ko dēvē par “world music” (mūsu projekts Senču balsis – Austrija, Somija, Mongolijas partneri). USA, Somijas un Krievijas grupas uz mums nav atstājušas lielu iespaidu. Auļi nav saistīti ar politiku un politiķi mūs neietekmē. 

Is it important for you to be political? Do you consider yourself a political group?

No, Auļi is not a political or politicised group identifying a political nation, we are a nation, therefore an ethnic group and we recognise and develop the nation’s ethnos cultural heritage…therefore we can be considered more of a civically active group, because we support social and cultural events where human and civic values are important ​​e.g. socialisation of municipal residents at city events and festivals. In addition, it is characteristic that the ethical heritage of the Latvian ethnos - Dainas - has expressed moral principles that are perfectly compatible and align with the basic principles of modern EU human rights.

Orig. Nē, Auļi nav politiska vai politizēta grupa kā politisko nāciju identificējoša, mēs esam tautas, tātad etniska grupa un radoši apzinām, attīstam tautas, tātad etnosa kultūras mantojumu… līdz ar to mūs var uzskatīt drīzāk par pilsoniski aktīvu grupu, jo mēs atbalstām sociāli un kulturāli nozīmīgus pasākumus, kur svarīgas cilvēciskās un pilsoniskās vērtības e.g. pašvaldību iedzīvotāju socializācija pilsētsvētkos un festivālos. Pie tam raksturīgi, ka arī latviešu etnosa ētiskajā mantojumā – Dainās, ir izteikti morāli principi, kuri lieliski sader ar mūsdienu EU humāno tiesību pamata principiem.

Do you think music can affect the political environment and society outside the purpose of entertainment?

Unequivocally yes, because music works not only at the intellectual level of perception, but influences emotions, carries the message that the person feels, perceives, gets and changes their mood, which in turn- can also influence the political position and attitude of the individual or and society. An example is the Australian band Midnight Oil or the Irish band U2, whose strong ecological rock music messages also influenced the political environment through society’s frame of mind.

Orig. Viennozīmīgi jā, jo mūzika darbojas ne tikai intelektuālajā uztveres līmenī, bet ietekmē emocijas, nes vēstījumu, ko cilvēks izjūt, uztver , gūst noskaņojumu, kas savukārt var ietekmēt arī indivīda un sociuma politisko nostāju, attieksmi. Kā piemēru var minēt Austrālijas grupu “Midnight Oil” vai īru grupu “ U2” , kuru spēcīgie ekoloģiskie roka mūzikas vēstījumi ietekmēja arī politisko vidi caur sabiedrības noskaņojumu. 

Have you ever faced censorship? Had political parties or individuals expressed interest in your music?

We only encounter censorship once when one radio station refused to broadcast Auļi song " Sūda Dziesmu" [Eng.Crap Song], considering it an indecent, rude name, when in fact it's an old dung song that helps in their work [Was sang during work of the labourers]. At the same time, the titles of Auļi songs use ancient Latvian words, which nowadays are no longer used widely. For example, the word Diņķis (Male Genital Organ)- so there have been no claims or censorship.

Auļi music is instrumental in most cases, there weren’t many textual [lyrical] songs, nor are we representatives of protesting music — we're more trying to carry the legacy of creative ancestral traditions, its positive message, to convey to the audience the archetic power of our ancestors on an emotionally intuitive level that we feel ourselves... It can be said that we do not fight against evil (because evil needs a fight, it strengthens it), rather we support the good.

Representatives of the national right-wing parties have been interested in our music from time to time — inviting them to speak at their congresses. But we are not the brand or logo of any party. As a political campaign, Auļi has deliberately taken such actions as in YouTube's statement of support for the Ukrainian people in their fight against the aggression of the Kremlin regime.

Orig. Ar nosacītu cenzūru sastapamies tikai vienu reizi, kad viena radio raidstacija atteicās pārraidīt Auļi “Sūda dziesmu” , uzskatot to par nepiedienīgu, rupju nosaukumu, kaut patiesībā tā ir sena mēslu talkas dziesma, kas palīdz talkā esošajiem to darbā. Tai pat laikā Auļu dziesmu nosaukumos tiek izmantoti senie latvju vārdi, kuru aprite mūsdienās vairs nav tik plaša, kā piemēram Diņķis (Vīrišķais dzimumorgāns), līdz ar to pretenzijas nav bijušas.

Auļu mūzika vairumāir instrumentāla, tekstuālās dziesmas iepreikš nebija tik daudz, kā arī mēs neesam protestējošās mūzikas pārstāvji , mēs vairāk cenšamies nest radošo senču tradīciju mantojuma aicinājumu, tā pozitīvo vēsti, lai nodotu publikai to mūsu senču arhetispisko spēku emocionāli intuitīvā līmenī, ko mēs sajutām paši … var teikt, ka mēs necīnamies pret ļauno (tam jau to tik arī vajag, tas to spēcina), mēs atbalstam labo. Par mūsu mūziku ik pa laikam ir interesējušies nacionālo labējo partiju pārstāvji , aicinot uzstāties to kongresos. Bet mēs neesam kādas partijas brends vai logo. Kā politiska akciju Auļi ir veikuši apzināti tādu darbību kā Youtube paziņojumu par atbalstu Ukraiņu tautai tās cīņā pret kremļa režīma agresiju.

You have travelled to several countries - Poland, Spain. Do you see the difference between the European and Latvian audiences?

Yes, of course, there are differences in mentality and relative expressions of taste, perception and behaviour in cultural traditions between the EU and the ethnos of the world (we have also performed in Japan, China, Taiwan, Malaysia) among their audiences.  But Auļi usually has one observation that the children of any nation react invariably quickly and directly to the music of Auļi, directly freely begin to dance, move, jump...

Orig. Jā, protams, starp EU un pasaules etnosiem (esam koncertējuši arī Japānā, Ķīnā, Taivānā, Malaizijā) , to publiku pastāv mentalitātes un nosacītas gaumes, uztveres un uzvedības izpausmes kultūras tradīciju atšķirības.  Bet Auļi parasti ir viens novērojums, ka jebkuras nācijas bērni nemainīgi ātri un tieši reaģē uz Auļi mūziku, nepastarpināti brīvi sāk dejot, kustēties, lēkāt…

What makes the Baltic States and Latvia unique when it comes to music? Do you collaborate with Baltic and Finnish musicians?

It is unique that the cultural heritage of its ethnos has been preserved, because Latvians are a conservative nation, Latvian and Lithuanian languages are the most archaic Indo-European languages close to Sanskrit... But music is regionally specific to us and in ancient times, tribes and primaries actively communicated with each other, exchanging the best and taking over what was considered good to the extent that was possible in the region...

Auļi is specific in that the group is played by members not only from different cultural and historical regions of Latvia (Vidzeme, Kurzeme, Latgale), but also is a member from Estonia, which gives Auļi a wider coverage... We also cooperate with Baltic musicians in joint projects, more with Lithuania, but there have also been partners from Finland. Our cooperation is more in the form of invitations to perform at festivals in the Baltic States...

Orig. Unikāls ir tas, ka saglabāts sava etnosa kultūras mantojums, jo latvieši ir konservatīva tauta, latviešu un lietuviešu valodas ir arhaiskākās indoeiropiešu valodas, kas tuvas sanskritam… Bet mūzika mums ir reģionāli raksturīga un senos laikos ciltis un pirmtautas aktīvi savstarpēji komunicēja, apmainoties ar labāko un pārņemot to, ko uzskatīja par labu esam tiktāl, cik tas bija iespējams reģionā…Auļi ir specifiski ar to, ka grupā spēlē dalībnieki ne tikai no dažādiem Latvijas kultūrvēsturiskajiem reģioniem (Vidzemes, Kurzemes, Latgales) , bet arī ir dalībniece no Igaunijas, kas dod Auļi plašāku aptveri…Ar Baltijas mūziķiem sadarbojamies arī kopprojektos, vairāk ar Lietuvu, bet ir bijuši arī partneri no Somijas. Mūsu sadarbība vairāk izpaužas kā aicinājumi uzstāties Baltijas valstu festivālos…

Do you see musical differences between Latvia, Finland, Estonia and Lithuania?

It can be said that a particular region of each country also has its own peculiarities and specifics, even with the traditions and music of the counties- two border countries’ areas are more similar than other regions of the same country. It could be said in a very simplistic way that Estonian music is closer to the Swedish tradition, Lithuanian music to Polish, but Latvian music has a German influence... But it is very, very simplistically connected with the historical context with which in the past every Baltic nation had more cooperation, interaction with... At the same time, the basis of the rhythmic performance is almost identical to the region...

Orig. Var teikt, ka arī katras valsts noteiktā reģionā ir savas īpatnības un specifika, pat ar kāzusu, ka divu pierobežu valstu novadu tradīcijas un mūzika ir līdzīgākas, nekā tās pašas valsts citas reģions. Varētu ļoti vienkāršoti teikt, ka Igaunijas mūzikai izpildījums ir tuvāks Zviedriskai tradīcijai, Lietuviešu mūzikai - Poliskai, bet latviešu mūzika ir ar vācisku ietekmi… Bet tas ir loti, ļoti vienkāršoti, saistīts tieši ar vēsturisko kontekstu, ar kuru valsti agrāk katrai Baltijas  tautai bija vairak sadarbība, mijiedarbība… tai pat laikā ritmiskā izpildījuma pamats ir gandrīz identisks reģionam…

Photo ©Auļi

It was a great honour to ask some questions for the multi-instrumentalist and vocalist Lauri Õunapuu, regarding paganism, politics, society and
the importance of music.

Why is music important for Estonians, especially folk, pagan and metal genres?

I think that music is important for all mankind, this need to listen to music, to make music. The need for rhythms and melodies is transnational, there is no special way to distinguish between Estonians or other nations. Even in countries where certain kinds of music or dance have been banned for a long time, these peoples still have a tendency to make music or dance, calling these forbidden activities by another name or doing it underground.

What distinguishes the peoples, nationalities or the music of different countries and regions from the characteristic Estonian-like activity is that Estonia as a country has quite definite borders and the national myth, which was created during a time of national awakening already in the 19th century, has confirmed its existence thanks to the clear definition of "us" and "them". , where the word "them" refers to foreign conquerors , occupiers or other foreigners - Germans, Russians, etc. This has also created an understanding of what "their" and "our" music is like - although these musical expressions often have the same roots, unified and mixed up. Nevertheless , modern people, not knowing and feeling their musical roots, still love to think naively about some kind of pure, mythical and beautiful national culture that was somewhere far away. And if, for example, they hear pleasant music in their own language, which has some kind of national or even pseudo-traditional features, he classifies this music as traditional folk music, perhaps feels pride and respect.

I also don't think that emphasizing national features in the genre of metal music is particularly important in Estonia - there are only a few metal bands that use elements of folk music. I would rather even say that they, apart from the band Metsatöll , are rather folk bands that use elements of metal .

At the same time, as I wrote, small nations probably know their people and history in a more special way than big countries , where people often do not have a definite national identity. Or it's sprawling.

The use of folk music in sound works has occurred continuously throughout history, here the question is what kind of music is in vogue/fashion at the moment or what musical styles or what sound works are being composed. Almost all well-known composers have used folk music (I'm talking here about the music set in the new era, not, for example, theater music in the Middle Ages, solo blues musicians, etc..) in different eras of classical music. Also modern music bands, from jazz , rock to punk. Whether folk music is conscious or unconscious is determined by the social need to belong to a group, a subculture, which is also expressed, for example, in music preferences. Folk music is an opportunity to feel and know one's identity.

The historical-romantic lyrics used in metal music also talk about the same thing.

At the begging of Metsatöll, who was your musical or political inspiration? Were you at all inspired by other Baltic/Estonian bands? Or maybe had influence from the US or Russia?

I can only speak for myself here, because every musician has his own path and preferences, sources of inspiration and influences. Estonian folklore ensembles, Estonian movies whose soundtracks used folk music and which were extremely popular definitely influenced the national line in my musical choices . Friends who cared about folk music were also a big influence. This effect between friends is like a desire to cultivate a common cause and feel the unity of friends - one learns a story, another reads an interesting article or study about history and tells it to others - others in turn look for some exciting story from history, etc.. if friends, as we had back then, play some instruments, it is clear that this is also reflected in the music.

Do you think it’s important for music to be political?
And are you a political band?

First of all, the term "political" must be explained . What does "political" mean? Does this mean meddling in state affairs, explicitly supporting a certain political party? Or social responsibility in a broader sense?

I think that not only every musician, but every citizen in the country should feel social responsibility. Is it a village, a certain region, a country or a part of the world that you want to stand up for, so that everyone is better off. On the other hand, it is natural that not all people have the competence to have a say in political issues, state affairs or even in the organization of their home environment. Therefore, it is natural and also necessary for each person to start taking responsibility in small things, doing it as well as we can understand, is already a small step towards betterment.

When talking about political music, you can think about the aspect that a musician is allowed to say something for which other people could be punished. The musician is like the little innocent boy in the fairytale who drew attention to the king's nakedness.

In totalitarian countries, of course, such a boy can be hanged or sent to rot in the basement for years.

Do you think music holds a greater power, beyond entertainment and that it can influence the society, and political affairs?

There are all kinds of music, and the meaning of music is determined by the listener. If you have a critical mass of listeners who interpret certain music, you can do something in the world with those listeners. If no one listens to your protest song on any topic, or if its content is interpreted as entertainment, then nothing happens.

There are, of course, many examples where music has made a large number of people feel capable of changing something in history or themselves, and not only the Estonian singing revolution. In every struggle for freedom, songs are used in a similar way - they give strength, a sense of unity, the idea of the necessity of one's own existence.

Even when the song and words are simple, they have a unifying power - even if, for example, a crowd in a football stadium chants together the name of a certain head of state and the name of a man's genitals in one sentence, there is a certain unifying power in this chanting.

Were you ever faced with censorship? Have any political parties or establishments ever been interested in your music?

Every person encounters censorship on a daily basis, but whether we interpret it as such is another matter. If we take censorship in the classical sense (although there are quite a few subspecies of censorship), then we usually understand censorship as state interference with freedom of speech, opinion and expression. Metsatöll has never encountered such censorship as an ensemble. Or let's say we are in the small details - in China it was not allowed to sell a DVD with a folk song about the Turkish war.

You have toured worldwide – Do you see a difference between audiences in each of the Baltic States countries, Europe? Are different audiences expecting different music or values?

We only sing in Estonian, so it cannot be said that people react differently depending on the lyrics. Rather, it is a question of the established general character traits and openness of different peoples. It can be said that these are pseudocharacteristics, but the culture shapes the people regardless of whether these people are naturally or genetically inclined to be more open or closed.

Photo ©Metsatöll

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