HWF text: Mikko A
HWF photos: Vorogography
GR text: JM
GR photos: Rotat
Many former SI reports has been documenting the state of Finnish live noise activities. Pace has not slowed down at all since the crazy days. Entire 2026 has been hectic times for those who want to catch noise acts live. Like last year, we have seen shows in cities like Oulu, Lahti, Kouvola, Joensuu, Helsinki, Turku,.. too many to even properly review or document. Talking with foreign people in Harsh Ways Fest IV, most of them indeed concluded that nothing like this is happening in their countries, so that’s why they are here.
I was recently talking with friend who mentioned that documentation can amplify events way beyond its significance. Meaning, that many times there are gigs with hundreds or thousands of people and reaction does not go beyond instagram stories. This means that after just one day, it suddenly seems as if it never even happened! As contrast, things like SI does, it may publish videos and stories of shows where only couple dozen people were physically present. Reaching hundreds, if not thousands of people around to world. Creating almost mythical idea of event. This is fairly neutral observation. This is how it is. We know history of Japanese noise or glory days of heavy electronics because they were immortalized on VHS releases, compilations, noise magazine reviews.
Occasionally, I have seen also criticism that revolves around notion that attention is given to wrong kinds of gigs or artists. Therefore other part of the genre or countries remains undocumented. I would firmly stand in position that if that is true, then someone needs to step up and do more. Expectation can’t be that people who write for SI should do less! We are bound into time and location, guided by our tastes and enabled by possibilities and resources at hand. I have repeatedly explained to some people that traditional DIY culture was not only inclusive, in ways that it enables anyone to do it. It was also demanding, since it really requires it: Do it yourself ethos is really the notion of doing it by yourself. Especially if something does not exists and you want to make it happen.
Things such as Harsh Ways Fest or Gray Ritual are examples where things were born out of necessity. Something that needed to exist and someone put the wheels on motion. I like that.
Gray Ritual is sort of unofficial opening event for thursday in Helsinki area. Organizers are not the same, but there is sometimes little cross-over with artists. Being smaller and cheaper event in regular weekday, it pulls also different kind of crowd than HWF. This is one element to note. While scene is small enough to have fanatics who travel from city to another to see live noise, it is also big enough to have local audiences, also for gigs in middle of week when traveling tends to happen less. Noise-curious outsides may show up and some fractions who only visit certain kinds of events.
I have been present in most of Gray Ritual events, but this year wasn’t. Due multiple Swedish acts could not come to HWF, replacements were booked in relatively short notice. My own project GRUNT was one of those. Already playing at same venue multiple times, plus I was going to be at the festival anyways. Was ready to jump on stage with short notice. Only thing was that set needed to be something new and to rehearse upcoming album material properly meant that I was still tweaking set during thursday and did not have time to go to Helsinki.
Report below by JM, Photos by Rotat.
Gray Ritual 5
Helsinki July 30, 2026
Besides being the term author Thomas Ligotti‘s uses to characterise human life itself, Gray Ritual is also a series of noise shows in the Helsinki area.
The purpose was originally to give international artists on tour an opportunity to perform in the capital area as well. Over time it has become a (somewhat haphazard and left-field) warm-up show for the Harsh Ways Fest in Turku, although ”officially” unaffiliated.
As is by now practically customary, GR’s fifth iteration was plagued by venue and line-up changes. Finally, we managed to settle on a log building built in 1804, in a quiet suburb in southeast Helsinki.
The building’s thick walls of solid wood provided a better acoustic environment than the typical concrete walls and floors of industrial spaces. They also kept the noise indoors remarkably well. Log houses are well known for being well suited for cold climates – but this unfortunately meant that in July, the temperature inside was pretty sweltering. Especially with 30 people or so packed in a smallish room with a low ceiling. Well, noiseheads don’t shy away from minor (or even not-so-minor) discomfort.
The venue’s front yard also had a small outside stage, but this had been repurposed by local down-and-out alcoholics as their summer hangout. This group was so numerous that they nearly outnumbered people who had come for the show – a stark reminder of the social realities in this, supposedly the world’s happiest, country. At one point, even an acoustic guitar appeared – a threat, or an opportunity, we wondered? Sadly, this question went unanswered, since in the end it didn’t end up being played.
Besides arranging the venue, our friends over at Roska Visuals took care of the sound and video for this gig. The PA they had brought turned out to be perfect for this event – powerful and clear, loud enough without the need to push the house mixer into the red, and lose nuance in the sound in the process.
Aksinnäm from Sweden kicked off the show. The man has been doing noise loops and recordings for his own amusement for no less than 23 years, and this was his first live gig. He may have been slightly too ambitious for his live debut, at least judging by the massive pile of synths, samplers and effects unit he unloaded on the table, and finally slung an electric upright bass around his neck. The set ended up including clanging and banging junk metals, and noisy loops fading in and out. There were also convincingly delivered, shouted vocals, apparently without effects applied? The man himself was not satisfied with his performance, but to my ears it was a perfectly reasonable first live effort, and a good start to the evening. There were many good elements to the set, all that is needed now is getting them in better balance. Hopefully he won’t wait another 23 years for the next live show!
Oskari Karjalainen was next. This was a solo performance from the artist known as half of the Finno-Ugrian Suicide Hypothesis duo. The set was not a million miles from the rural industrial noise of the main project, although with a quieter, more folkish feel, and with nostalgic Suomi-filmi samples, rather than actual vocals. The contact mic’d rusty tools and other relics of a bygone, rural Finland will also have been familiar to anyone who has seen FUSH live before. Unfortunately, OK suffered from gear malfunctions, and ended up throwing his huge kantele across the table in frustration. I didn’t quite figure out what exactly went wrong, as what we did hear sounded great to me.
Next was the Stockholm-based skinhead/hooligan electronics project Birthdeath. No hesitation, frustration or technical difficulties here. Just a blunt, boneheaded PE assault, with powerful vocals and reassuringly ”incorrect” samples. Perhaps not the most unique or original stuff of all time (nor does this stuff have to be), but very convincingly delivered and executed!
This was the first set during the evening, where a (at this point, still slightly tentative) moshpit began forming in the audience.
Next, UK’s Sexualised Medicine set up his minimal gear on a tiny café table in front of the main stage. What followed was a British PE masterclass – grey, desolate yet still harsh and menacing cassette loops, and some of the best PE vocals I’ve heard live. Bashing a destroyed crash cymbal added an element of violent performance – did we actually hear it over the other sounds? Who knows, who cares. The short and sweet set ended in twirling flanger feedback that seemed like it should have sounded just silly, but somehow didn’t. Amazing stuff.
There’s perverts, then there’s Finnish perverts, and then finally there are Italian perverts. My first time meeting Fecalove in person yet again confirmed an almost universal truth: the creepier and viler the art, the more friendly and laid-back the artist will be in person. There was something genuinely uncomfortable and disquieting about watching the man stroll around among the audience with his hand down his pants, gargling beer and rubbing his own balls, while Italian porn samples played over the PA. And here I was thinking porn samples were so done to death, that nobody could possibly pull them off anymore. There was also glorious, squealing feedback, and at the end of the set, some great vocal work too.
The last performance of the evening was by Hans Moleman, with hardly anyone knowing quite what to expect – not even those who knew the man’s identity beforehand (Hannu from YANA and Amek-maj). The man seemed to be only partially present in the same dimension as the rest of us, but that did not prevent him from delivering. As Mr Moozzhead pointed out in his own report, the sound was much like Amek-maj, but with the initial parts of the set focusing on the ”crazier”, rather than the harsh ripping sounds the project is known for. The set ended in a barbaric crescendo of the audience yelling, screaming, grunting, pushing and pulling the gear table, and headbanging along with the artist. Before his set, our man had invited the drunks still hanging outside to come in, and to my delight a couple of them accepted and joined in the moshpit.
Altogether, a memorable and enjoyable evening! I left very happy and satisfied. The turnout was okay for a weeknight, enough to cover the rent of the venue and the PA. I was also able to slip the artists enough to cover, maybe, a round at the pub later. There were some new local faces, and also a quite good international presence, from Italy, France, Germany and the UK. See you again soon.
JM
https://www.instagram.com/roskavisuals
https://www.youtube.com/@GrayRitual
Harsh Ways Fest IV – 2026
31.7.-1.8.2026
Running a noise distro can happen in various ways. Freak Animal represents kind of ”professional level” of doing it. This means that waking up friday morning, first thing to do is quickly drive to the headquarters, pack all orders, drop them to mail. I know most of the customers would no die if they have to wait for monday to have items shipped. However, I have no intent to gain reputation a lot of noise dealers have. For some, paying customers seems to be the some sort of irrelevant nuisance they may or may not have time to deal with. So, all the orders into the mail, pack the van and finally drive across Finland can start.
Due the distance of Lahti and Turku, bunch of artists had already done soundcheck before I made it there. Same attitude that I have for label/distro, I have for live shows. Ideally, I ain’t there wasting anyones time. Everything set up ready on the table, soundcheck done at rehearsal place. My own synth stands to hold table, so I can just lift the table into venue and plug-and-play! Nothing to build as assemble or rehearse at that point.
I remember c. 20 years ago when playing at No Fun Festival, Keiji Haino had been tormenting sound guy with over three hour long soundcheck. Perfecting his vocal delays. Strolling across the empty venue hall, testing how sound is. As if it would matter after several hundred people are crammed in! For long time sound guy had not even done anything. Just listened artists command ”little bit more, .. not that much.. little bit less” -routine. Nothing else was being done than wait ego settle down to suitable balance until sound was supposedly ”perfect”. Grunt came to sound check. I handed him one mono cable and told ”here it is”. Soundguy bought me a beer just for being so easy to work with. Gig was not good, though. Not problem of soundcheck, but both Grunt shows at NFF sucked for other reasons. Which is partly the reason why I don’t play abroad that much. If gear I need or want for particular style of set is not possible to use, then there is no point to do gigs. Now been lucky that there has been several ideal conditions to make it happen.
FRIDAY video: https://www.youtube.com/watch?v=sYXLBmMaXYA
I don’t know if Kurluk had offers to play before. This relatively new name in Finnish noise was here opening with his debut live gig. Sleeveless Ministy shirt, arms full of tattoos, band logo cap, standing in front of table consisting pedals and other gear. Kurluk tapes are something between abstract power electronics noise. Often not songs per se. His noise isn’t colorful and hectic ”pedal noise” either. Something between. There wasn’t much to see, but musically speaking he could easily perform good length live show without any problems. You wouldn’t think this was first show as things were in control.
Both tapes are worth to check out and so is new split CDR with Resting Place.
Some may know Resting Place for his tape on Satatuhatta label as well as song on Terässinfonia compilation series. His other releases may be very minimally distributed. Finns often recognize man as one half of Fricsvel that has played number of shows and done decent tape releases. Resting Place has more industrial vibe to it. This gig was gloomy slow paced pulses, subtle vocals without aggro screaming, slow synth oscillations, but also hissing screeching distortion. I was surprised that he only played less than 15 minutes. Type of sound he was doing, felt like it is just about to get people into mood! Song is slowly fading out and instead of next… that was that! Not bad. Just surprising!
I have said number of times Maskhead is kind of hit & miss project. It can be good and energetic. It can be also focusing on very simple and blunt sounds in a way that one wonders why this, if you CAN do better? This show here, was probably the best Maskhead live. At the venue, it also sounded fuller, wider, with dynamic and energetic elements. More than any of the studio recordings. Live video doesn’t really capture the power of distorted metal junk. Camera was located so far in distance, behind the audience so nobody has to be watching shining screen. Therefore echo of hall changes the sound quite a bit. As opposed to artists before, Maskhead has stronger stage presence. Two persons on stage changes a lot. If one person is responsible for everything, usually it means he has hands full with doing the sound. Two guys often means you can rely on something happening besides your own sounds. Maskhead used this extra energy in movement. This little movement was the body motions, gestures, stepping away from gear… that is the little extra that may be needed for ”live show”. Connections of body actions and sound. I like that.
I only heard tapes by Scum FC from UK. I didn’t really know what to expect. A lot of noise was based on samples. We got bombarded with video footage with audio heard through the mix. Raw and simple noisy sounds he was doing along the audio track of the video was pretty thin compared to artists before. Set ended with shaking large piece of scrap metal and screaming agitations. In its simple form, the ending had the impact. Perhaps smaller stage would have looked better. Artist playing on side of stage, sideways to the audience, with video projection high on the wall wasn’t ideal. Despite not being biggest fan of ”contemporary political/social issues” dealt in noise, I would say current age UK has no shortage of material suitable for that purpose! Working class looking man from UK, being angry and agitated, has this timeless charm in the underground music! I hope to see Scum FC sometime in smaller venue.
Grunt set consisted mostly new material. Two of songs are Finnish language versions of songs found from ”Cast Iron Hand” 10” on Old Europa Cafe. Rest of the songs were material that will appear on next full length album that should come out during autumn. LP/CD. Material has been under work for some years and listened repeatedly countless of times and also playing various version of songs for album resulted playing it live is relatively easy. Knowing what it should be and how to make alternative live versions. Set was among longest sets Grunt has played in recent years. Along previous show in Germany, the most song oriented live shows in recent years. There exists very good sounding mixing board+room recording of the set that will be released after studio album.
Chloroform Rapist was not entirely happy for being last to play. One of my requests was to not to play last. I mentioned CR that lets put extra amplifiers on stage for you and you will CRUSH. And they did. Despite it is relatively unknown project and first (and only?) live show for them, it was good headliner! It was loud, disturbing and painful. Slowly built, whistling high pitch electronics with bassy, rumbling of crunchy ”pulses”. Extreme vocal attack at some point. Eerie greyscale video material. Very dark stage, with flashlight revealing two hooded men with some sort of wrongdoings dominating their minds. Material is very much in style of upcoming new album that should be published sometime this autumn!
After the gigs, crowd started to disappear quickly. A lot of people would head into bars of central Turku, where we would gather to talk about noise and related. It was good opportunity to catch up with The Rita, Fecalove and bunch of others I have not seen for a while!
* * *
Saturday morning. Thinking that maybe I should eat something? Haven’t eaten anything since… thursday night? Walked into meat shop and they had plastic boxes filled with left-over cuts from various pieces of meat. I asked the guy what is in it? ”I don’t know, I can’t really tell”, he replied. Ok, I take that! Beer and slices of random pieces of meat and walking around Turku, checking out the usual places if anything to buy. This time I grabbed couple new books. One notable being new Mishima translation. First time from Japanese to Finnish. Part of series were at least six books should come out.
Venue opened at 18. As I had merch table there, arrived much earlier and could put everything ready and drink beer freely as no late night gigs to play that would require sharp attention.
Saturday video https://www.youtube.com/watch?v=j3HH6wrReA8
Opening act was Birthdeath from Sweden. Some could say this is done before, but is it very common? Not really. Streicher was pioneering in noise releases dealing with ”bonehead culture”. This was main element here. Birthdeath would have decent wall of electronics and processed vocals. You could not understand anything what was being said, but stage presence and the video material could be indication. If Streicher was focusing a lot in UK and USA originated movements, Birthdeath was nostalgic look to Sweden in the 90’s. While video projections may be exotic to some, it may be also seen slightly amusing for those who are involved in genre. We’d see live footage from gigs of Division S, Midgårds Söner and so on. Along with some related footage. If someone would do show like this in Finland, play live videos of Mistreat, Sniper and Pig Killer.. it would feel strange. Like why are we watching Muke & boys playing when we are watching… you play? hah.. Birthdeath sound on video is again way more distant and echoing than the in-your-face punch it was at the venue. He had couple new tapes published, which sold out really fast. Part of the pressing is not assembled yet, so those who are interested, may want to keep eye on ”Filth Archive” to get access to the tapes.
As far as I know, Sexualised Medicine did one tape 10 years ago and now returned with couple new tapes. Largely unknown act, but when saying its members of Menacing 84 and Scum FC, many realize that there is long standing connections to Finland. Menacing 84 having releases on F&V label as well as having played in Finland couple times. Most recent show this year was private event, but it was clearly best show he ever played in Finland! Plus latest tape proved that project is actually now better than ever?
Sexualised Medicine had some processed suffocated vocal, percussive cymbal noise, UK rubber sleaze, suitably scummy feedback drenched harsh noise. If this was played in dark small basement, it could be… well… darker! Now it really had that old fashioned UK sleaze vibe that can be seen in vintage magazines. Ladies and gentlement, in gasmasks and mackintosh raincoats, sitting in livingroom, or hanging out in garden in broad daylight. Far from being glamorous or elegant, just somehow… demented! Which is here, utterly positive term. British smut, that is genre of its own to get into.
Moozzhead+Stinkfinger was exactly as is says. Meeting of two harsh noise artists doing what they do. Perhaps Stinkfinger was holding back a bit compared his solo work. Slowing its pace, having more delay and feedback. Moozzhead was doing his normal approach of full blast pedal noise fireworks. I was told that in soundcheck Moozzhead was dominating with volume. At the actual live show, I would say Stinkfinger was louder in the beginning. At least more strikingly audible. That made the high pitch feedback of his gear stand out. Closer to the end when it was more full blast, balance became good. Video material of this gig was crucial part of the show. It is not very ”youtube friendly” so to say, so tasty bits were for the audience who were present. Moozzhead had curated us tasty mix of big women being hot & naughty. With that classy element of amusement and delight as opposed to abusive harm. This fits the spirit of both artists. Stinkfinger is also more like wink of eye, than ”aggression and abuse”.
Earlier at fest I was doing trade with Fecalove. He had album filled with X-rated polaroid pictures for sale. I mentioned that as heterosexual man, I prefer this one with naked woman legs wide open, rather than… mr. Fecaloves holes? Tastes are many. Not long ago I had copies of Sexual Retard photo zine available in my physical store. Women who didn’t seem like she had any connection to underground culture, picked up the ’zine, and said ”this looks interesting, I take this”. I am sure that Fecalove playing with his genitals & octopus tentacles qualifies as ”interesting” for future ladies night at her place.
Former Fecalove gig in Turku caused some discussion when many men wasn’t that interested to see dude playing with his genitals. I am open to see what artists wants to present, whatever it might be, so not bothered at all. However, this gig was in many ways better than before. There was excellent build up of things, good vocal sound, very sharp and clear sonic elements. His presence and charisma among best on the fest.
Sick Seed in current form is at top of the game. I have seen SS from very early stages. The moments when Gelsomina started to have SS type elements that soon became project of its own. Those early shows and releases, era as duo with bass player etc. Finally now with mr SS focusing in doing the live-sound while singer taking care of vocal duties. Formerly known songs done by man who has background also in theater and acting in the movie. There is certain stage presence, ability to remember long lyrics, theatric gestures and fast exploding energy. Absolutely great set. Previous private ”comeback gig” they did was more of so called political songs and now set focusing more the erotic songs. Old school Finn duality of filth & violence strongly present!
I did not know exactly what to expect from The Rita. I was surprised when artists told day before that he is not using distortion pedals anymore and its all about the thematic sounds. I was still under impression that he is doing the ”crackle studies” -type of material. Since that was the releases I have been getting in my distro. If the crackle studies is my least favorite The Rita phase, I am glad to say that what he is doing now, is THE BEST of The Rita! It is not so obvious that long standing artists become stronger. Most known direction is things slowing down. Things watered down. Things becoming seemingly irrelevant for makers. Sometimes merely clinging on genre with assistance of easiness provided by contemporary gear. The Rita here is the opposite. He has absolutely no uncertainly what he likes and wants to do. Plus he has evolved and changed over the years multiple times. Always maintaining certain foundational elements in his work.
Set started with wet, physical, crushing and splashing sound, proceeding into wall of noise that is not about distortion box sound, but something very physically concrete. Sound would become mechanical, almost musical – on level that The Rita noise could be called musical. There would emerge great harmonics within walls, making it almost… musical! Jukka Siikala had been middleman to arrange Finn dancer for this show. The Rita had the costume and choreography planned for her and it worked very well! White tights, bloody wound, contortions and skilled movements.
In past interview artist was talking that he doesn’t quite get it why people would be complaining about noise album not having recognizable elements. If album would sound new every time you listen to it and not something you remember, isn’t that positive? I personally just like that there are elements that make album sound exactly that album. This gig was exactly like! I hope to hear his studio works like this, where distinctive sounds are focus, not purely abstract deconstructed sound particels!
What was surprising, was that for grand finale, The Rita played cover song of Final Solution. Angry, commanding shouting vocals over richly textured noise wall. I do not know has he ever done something like this before. I am sure it was appreciation for legacy and spirit of FS. Some assumed it could be like middle finger towards recent things at certain UK festival, but I could also wonder could there be hint of irony when performing it at HWF? With the best power electronics, there is of course both elements existing at the same time.
It was curious to see that this year, there was probably more people outside Finland than ever before? As contrast, it may lead that there was less Finns. After most of the Swedish acts dropped, line-up may not be ”once in a lifetime” -type of event for many Finns. Like said in the beginning, we have no shortage of gigs to attend to! My conclusion was that fest was as good as ever, in some ways even better! My continued recommendation stands valid. Keep eye on SI forum announcements for gigs if there is nothing happening in your own country. It can be worth to book summer holiday to Finland if you want to see few nights of obscure noise & PE acts that are unlikely to be touring or starring experimental sound festivals around Europe.
Finnish noise podcast, Noisecast, did long interview with The Rita, and first part should be online in few days. There are other english language episodes available now. Check out their youtube channel or listen from spotify.
Follow news about noise gigs and related at:
https://special-interests.net/forum/index.php?board=8.0
Find releases of most mentioned artists from nhfastore.net