Hatari interview and review of 'Neyslutrans'


Hatari are an exceptionally unique band hailing from Iceland who shot to fame after their Eurovision 2019 performance and controversy which you can read about in our interview below. Describing themself as a multi media project, Hatari are a mash up of industrial, future punk, BDSM themes, Synth pop, and much more in what proves to be some of the best and most visceral electronic dance music around.

We had arranged to video interview them in March before their London show but unfortunately those plans had to change. The band was kind enough to answer our interview questions below however.

There is also a short album review in which Hatari have scored our highest score yet! Enjoy..

Interview:


Q.

You sadly had to cancel/postpone your ‘Europe will crumble’ tour due to Covid-19 but as a band that has always talked about the fall of capitalism and indeed asking your fans to often envision the end of the world, how do you feel about the current crisis and where does this effect Hatari in its message?

Credit Mummi Lu

Photo credit: Mummi Lu

A.

This is a horrible pandemic that affects us all. Envisioning the end of the world has indeed become easier. More importantly envisioning the end of capitalism feels like a possibility. This pandemic will probably affect how we see any art, including Hatari. Cancelling and postponing shows is unfortunate, but right now we are in good health and enjoying some well earned isolation. 

Q. With your recent video release of Engin Miskunn (No Mercy) the theme is that of a meteorite destroying life as we know it. It is an incredibly powerful song and one I have so much love for.

In line with the last question, do you feel this was almost predicting the way things were going to be this year? Also tell me about this song and the inspirations behind it because to me, it seems like it sums up everything Hatari is about in both song and video.

A.

Thank you for your kind words. Yes, we predicted everything. We hate to say we told you so. But we told you so. Enginn miskunn or No Mercy is a hymn to the apocalypse and a ritual. We like to say that the apocalypse isn't an event that cuts time in two, rather it is a hue that is laid over our times, we are living the apocalypse. That is what inspires us to coat Klemens with slime and sacrifice him ceremoniously and all the rest. The original slime from the video is for sale, by the way. Contact capitalism@hatari.is for more information.

Q. In that video and others you have some incredible dancing from both female dancers Sólbjört and Ástrós, and your dance gimp Andrean. Many of your fans will know the singers Matthías and Klemens, and the iconic spiked mask look of Einar but can you please tell us about yourselves, who you are, how you came to know each other, and how you all got in to this kind of music?

A.

We all know each other from different directions in the tight-knit music and arts scene here in Iceland, adding to the Hatari project layer by layer, not just the trio and the dancers but many others who have contributed as Hatari grows. At times it has felt like a real collective.

Since the corporate takeover of Svikamylla ehf. or Relentless Scam Incorporated, however, those vibes are a thing of thepast. Today the relationship is a much more for-profit capitalist owner versus underpaid workforce kind of dynamic but in a fun and inclusive way. We love our jobs.

Q. Hatari has not only been about destroying capitalism and creating silly characters off stage, yet deadly serious characters on stage; it has always been about bringing more understanding to the LQBT+ and BDSM community. How has that side of Hatari been successful and are you seeing positives come through from that part of your image?

A. We have been honoured and happy to see the diversity and awesomeness of the many groups that rally behind our performance. The BDSM community here in Iceland have been our mentors and assisted us in many ways. We have also been working closely with Andrean, our dancer, who is an LGBTQ+ activist to the core in developing our ideas of performances to show support towards the suppressed LGBTQ+ communities and other marginalised groups. We have felt the support overwhelmingly on social media and in places we visit where the LGBTQ+ community is being actively oppressed.