Tomorrow's Outlook
Riding Arctic Metal’s Black Waves

24.02.2026

Norway’s Tomorrow's Outlook are about to release their third album. The band that originally emerged in the small town of Sörvik in the very north of the country back in 2007, already has two full-length albums in their catalogue. Both "34613" (2012) and "A Voice Unheard" (2018) impressed the audience with the distinctive sound that the band themselves call “arctic heavy metal”, which is additionally bolstered by the involvement of high-profile guests, including Ralf Scheepers, Michael Kiske, Graham Bonnet and more. Starting with the second album, the lead vocals in Tomorrow's Outlook have been handled by Tommy Johannesson, and his memorable voice with impressive soaring overtones, as well as a Viking-like stage persona, have become one of the band’s trademarks. On “A Voice” the band made some unusual choices of cover versions, putting their own spin on “Slave To The Evil Force” by Russia’s Aria and inviting Aria’s Vitaly Dubinin and Maxim Udalov to play bass and drums respectively on their rendition of "Darkside of Aquarius", originally by Bruce Dickinson.
The third album, "Black Waves", due on March 27 via Battlegod Productions / Sörvik Rock Music, is a deep dive into Norwegian history with its tales, believes and seaside adventures. Its ten tracks ranging from high-speed crushers to mid-tempo numbers constitute a powerful epic journey, and it once again has a treat for Aria fans, this time in the form of “The Still”. We got Trond Nicolaisen, one of the band’s founders, co-songwriter, manager and powerful driving force, to tell us more about this album, as well as about other aspects of the band, its plans and behind-the-scenes processes. 

Before we start discussing your upcoming album “Black Waves”, I would like to go through some aspects of your previous releases. I believe it would make sense to provide your Russian listeners with more context about the band. 
Let’s begin with your first full-length album, "34613". It was your first album, and right from the start of the band’s career you got a deal with Australian label Battlegod Productions. Was this deal easy or difficult to get for the band? Looking back, do you think the band had a smooth start, or was it more of a struggle back in the day?

We had several concrete offers from smaller labels before we got in touch with Battlegod Productions. However, after a couple of phone calls with Pete Kotevski, the choice became quite clear to us. He came across as a genuine and down-to-earth person who truly wanted to work with us — not just release a record, but build something together.
It was probably also an advantage that we had several well-known guest musicians on our debut album, including Michael Kiske (Helloween) and Graham Bonnet (Rainbow / MSG / Alcatrazz), and that we already had a fully completed and well-produced album in hand when we started looking for a partner. That made the dialogue both easier and more concrete from the very beginning.

The title track of the first album is instrumental, and I read in your earlier interview that its title is just the number of a driver’s license, that there is not overall concept behind the album, and that some of the songs on it were written just to have fun. Does it mean that you did not take the band too seriously and did not intend to appear as a too serious band in the public’s eye back in the day?

To be completely honest, we don’t really like to talk too much about the debut album. It’s a rather chaotic record, without a clear direction. When we wrote the first songs, we actually had no plans of making a full album. “White Lightning,” “Gate To Freedom” and “Kill Again” were all written in 2007 — mainly just for fun. Andreas (Stenseth, bass) and I had made a few demos together a couple of years earlier, and we decided to resume our collaboration after his band, Flame Thrower, was disbanded.
It’s true that the album title consists of the registration number of my first car. Some people used to call it White Lightning, and looking back, I probably took a few corners a bit too fast from time to time. I was left with many great memories connected to that car, so it felt natural — and a bit amusing — to write a song about it.
On the cover, the car is placed in local surroundings, chased by a demon symbolizing the dangers and near-accidents you can experience when driving on icy Northern Norwegian roads during snowstorms and harsh weather. The polar bear was added mostly as a humorous detail — since there are still people around the world who believe polar bears roam freely in the streets here in Norway.

I personally like "34613" very much, I really enjoy diversity of moods that can be found on that album: there are heroic songs, there are romantic songs, there is a purely instrumental track, and there are also folk melodies… In a way it shows that even though the band did not have much experience at that point, it already had a lot of potential… But what’s your own take on "34613", if you look back at it from where you are now, in the year 2026?

Our biggest issue with “34613” is probably that the album never quite became what we had envisioned. It was our debut, and we lacked both songwriting and recording experience, but we still had many strong ideas that we never fully managed to realize. Some were abandoned along the way, while others simply weren’t communicated clearly enough to the guest musicians who contributed.
We had two guitarists involved, based in Finland and the United States respectively, which made collaboration more complicated. On top of that, we were missing even basic equipment, like a proper microphone. Parts of the demo vocals were therefore programmed as MIDI melodies — and it goes without saying that it’s nearly impossible to convey emotion, dynamics, and atmosphere that way.
As a result, the songs that worked best were naturally the ones where Mike Gorham created his own vocal melodies. “Doubt” and “The Ethereal Dream” may not fully represent what Tomorrow’s Outlook has become today, but they have aged well and still work nicely in our live set.
As for “Liquid Scream”, it ended up taking a rather different direction than I had originally imagined. If you listen to “Eventide” from “Black Waves,” you’ll get a sense of how the original vocal lines were intended to sound. “Eventide” is actually a re-recorded version of that song, with a more refined and powerful instrumental approach — and completely new lyrics.

Your next album, "A Voice Unheard,” is a concept record about a man’s fight against the impending Apocalypse. Two cover versions on it, originally by Bruce Dickinson and by Aria, fit the album very nicely in terms of the feel and overall meaning. Your upcoming album also includes a cover version, “The Still” by Aria. What is the role of cover versions in the context of the band? Aren’t you concerned that some people may say you rely too much on other people’s songs?

We’re not particularly concerned that people might think we rely on other people’s songs when we include a cover version. For us, there has always been a clear intention behind the choices we make.
When it comes to Bruce Dickinson’s “Darkside Of Aquarius,” it was partly about paying tribute to both Bruce and Roy Z. Roy Z handled the mixing of the album, so it felt both natural and meaningful to include a song from Bruce’s universe. On top of that, we have a vocalist who can truly do that song justice — so we did it simply because we had the ability to execute it properly.
When we cover Aria, it’s first and foremost out of respect and inspiration. Andreas and I have been strongly influenced by them for many years, and we wanted to give one of our favorite songs an English-language version — both as a tribute and as a way to make their music more accessible to a wider audience.
At the same time, we write more than enough original material, so there has never been any need to use cover songs to “fill up” an album. For us, it’s not about leaning on someone else’s work, but about highlighting songs we genuinely care about — and putting our own stamp on them.

It’s no secret that you are inspired by heavy music of the 70s and 80s, including Iron Maiden and Aria. But are there are other bands/music styles that you would mention as your influences/inspirations?

We are three main songwriters in the band, and we largely share the same musical taste. We have a deep love for classic heavy and power metal, and many of our references come from within the very genre we operate in ourselves.
If we’re to highlight some of our most important influences, we definitely have to mention the German band Helloween, who have been absolutely central to European power/speed metal. Beyond that, we’ve naturally been inspired by legendary names such as Judas Priest, Dio, Black Sabbath, Manowar, Yngwie Malmsteen, Gamma Ray, and Edguy.
We also have a strong connection to American power metal (USPM), with bands like Crimson Glory, Queensrÿche, Lethal, and Heir Apparent. Combine that with more distinctive acts such as Stormwitch, Nocturnal Rites, and Cloven Hoof, and you have much of the foundation that Tomorrow’s Outlook is built upon.
We’ve also previously mentioned 80s and 90s video game music as an important source of inspiration — especially from the C64, Amiga, NES, SNES, and Sega era. Back then, strict limitations in file size and sound channels left little room for large and complex arrangements. As a result, composers had to rely on strong, memorable melodies and atmospheric, almost haunting rhythms to captivate the player.
In fact, there were times when certain games were played more for the music than for the gameplay itself. The melodic strength of those soundtracks has probably left a deeper imprint on us than we realized at the time.

You mentioned in press materials that work on “Black Waves” started back in 2020. I have noticed that on the average it takes your band five to six years to make an album. Would you like to have albums out more frequently, and if yes, what stands in the way? Or is it a stable working cycle that the band finds comfortable and that goes in line with your aspirations?

It’s true that the recording of “Black Waves” began in 2020, when we combined a work trip with a vacation to Gran Canaria to record the drums. However, by that time we had already written several of the songs. Both “Lament Of The Damned” and “The Monument” were actually performed live as early as 2019, at our debut concert at Arena Gressholman. I also believe Tony recorded the vocals for “Lament Of The Damned” as early as 2016 — a couple of years before “A Voice Unheard” was released.
I also went through a very creative period in 2019, when much of the vocal melodies took shape. It was never our intention for so much time to pass between releases, even though some of our press releases suggested that the album was “just around the corner.” Part of the delay was due to waiting for various contributions to be completed. Songwriting has never been the issue — we’ve always had plenty of material. We simply have to admit that we could have been more efficient.
At the same time, we’ve never been a full-time band living off our music, and in that situation you can’t expect everyone to always prioritize the band above everything else. That said, I do take some responsibility for the past couple of years. I didn’t want others to benefit from a product we had invested so much time, effort, and money into — and I had long planned to start our own label. In many ways, we were waiting for the right moment.
Now we’re releasing the album in collaboration with Battlegod Productions while maintaining full control through our own company. I can guarantee that we want a much more frequent release schedule going forward. In fact, I can almost promise that the next album will arrive quickly — most of the songs are already written, and half of the drums have already been recorded.

Apart from working with Battlegod, you also have your own label and promo company, Sörvik Rock Music. Can you tell me a bit more about this company? What exactly does it do, and how did you come up with the idea to establish it?

Sörvik Rock Music is a record label and promo company founded by Andreas and myself from Tomorrow’s Outlook. We’re also joined by another Andreas, who handles the administrative side of things, including finances. In this early phase, however, I’ll be the one taking care of most of the day-to-day work — whether that involves promoting our own projects or working with other bands we collaborate with.
In the long run, I’d also like to scout and sign some talented bands. I follow the scene closely and have always had a certain instinct for that side of the business. We’ve also discussed expanding into booking eventually, so it’s not unlikely that Sörvik Rock Music will develop its own booking division over time.
Recently, we’ve been working on professionalizing the company. That has meant diving into technical and administrative areas I’m not necessarily most passionate about — everything from email servers to different system solutions. But if you want to build something properly, you have to take care of the whole package.
We now have a professional logo and a visual identity in place that reflects the Nordic and Arctic aesthetic we also embrace with Tomorrow’s Outlook. It will be great to launch a proper website in the near future and replace the temporary solution that’s currently online.

If I had to mention the aspects of “Black Waves” that primarily impressed me as compared your previous albums, I would say it is very melodic multi-part solos that captivate from the first listen, and really energetic drum parts! Once again, what is your own view on that? What are the musical aspects of “Black Waves” that cannot not be found on the band’s prior releases?

It’s very nice that you’ve noticed Owe Lingvall’s fantastic drumming — because it unquestionably elevates the entire album. Owe has a very special groove that only a few truly possess, and one that many undoubtedly envy.
Øystein (K. Hanssen, guitars) was present during the drum recordings together with Nino Laurenne from Sonic Pump Studios, and they did a tremendous job pushing Owe to his limits. There was probably less vacation and more hard work in Gran Canaria than Øystein had initially imagined, but with a final result like this, it was absolutely worth it.
As for the guitars on “Black Waves,” Øystein handles most of them himself, but Valentino Francavilla also plays rhythm guitar and delivers a couple of multi-part solos together with Øystein. We’ve already talked about giving Valentino even more room on the next album. We’re incredibly fortunate to have him as a permanent member — he is undoubtedly a guitarist at the highest international level.

It would be very interesting to learn more about the songwriting process in the band. As far as I understand, Anders Stenseth is the main songwriter, and you are the co-songwriter. But could you share more details about the way you interact and the way that your songs come to life?

Andreas has probably written the majority of the songs on “Black Waves,” but all the material has been developed in close collaboration with Øystein and myself. When I work on vocal melodies, I often make structural adjustments — for example, a section originally intended as a chorus might become a verse or a pre-chorus, or vice versa. In the same way, Andreas may tweak the arrangement once he hears how the vocals sit, and then Øystein might further reshape or expand the songs in the next round. It’s a dynamic process where everyone leaves their mark.
This time, Øystein and I also collaborated more closely on a couple of songs — as far as I can remember, it’s the first time the two of us developed songs together in that way. Øystein sent me two tracks I immediately connected with, “Wait For The Sun” and “Silver Ghost,” which I was to write vocals for. Both ended up becoming video singles.
I feel incredibly fortunate to work with both Andreas and Øystein, whom I consider very strong songwriters within the genre. Øystein, as a guitarist, often takes a more riff-oriented approach, while Andreas, as a bassist, tends to build songs around playful and driving bass lines. The common thread in our sound likely lies in the fact that I handle most of the vocal melodies, while all of us are involved in shaping the overall direction and putting our personal stamp on the material.
Tony also deserves to be mentioned. Even though he wasn’t directly involved in the pre-production stage, he — together with his vocal producer Bredo — leaves a clear imprint on the songs in the studio. They have a strong sense for dynamics and detail, and the choir arrangements they develop together have undoubtedly elevated the final result significantly.

How much do the rest of the bandmembers contribute to the final result of the songwriting? Do they always accept what Anders and you come up with, or do they sometimes reject your musical or lyrical ideas? 

Up until now, it has mainly been Andreas, Øystein and myself who have handled the songwriting during the demo and pre-production stages of our albums. Tony generally follows the lead vocals as we’ve outlined them, but as mentioned earlier, he sometimes — together with his vocal producer — develops his own or more elaborate choir arrangements. At times, they also make small adjustments to create more dynamics and flow within the songs.
Valentino hasn’t been directly involved in the songwriting so far, but we’ve already discussed including him more actively on the next album. That said, it’s important for me to emphasize that even if not everyone has been equally involved in the writing process, they have absolutely left a strong mark on the final result through their performances. Just listen to the drumming or the guitar work and the interplay between Valentino and Øystein — it really speaks for itself.
And for what it’s worth, I honestly can’t recall us having any musical disagreements so far.

Let’s discuss the conceptual aspect of “Black Waves”. According to a press release, “Black Waves is a concept album based on real events from the coastal region surrounding the Gressholman peninsula, stretching from 1748 to the early 1900s”. Do I get it right that every song tells its own mystic story happening on the peninsula? And why did you focus on that specific period of time, from 1748 to the early 1900s?

You are partly right. Most of the songs on “Black Waves” are directly connected to the events surrounding the murder of two Sámi boys in 1748. To a large extent, the album follows the development of that story — from the time leading up to the killings, to the boys being found, the growing suspicion within the local community, the trial, the verdict, and the brutal execution that ultimately concludes the case.
At the same time, we broaden the perspective in certain songs. One track deals with the trading post on Gressholman that burned down in 1902, while another focuses on a woman living there more than a century later — experiencing the aftermath and psychological echoes of everything that has taken place on that peninsula. In that sense, the album is not just a retelling of a single event, but also a reflection on how history can leave lasting marks on both a landscape and the people who inhabit it.
That said, it is not intended as a documentary work. We have been more concerned with conveying the atmosphere, the fear, the beliefs, and the human emotions surrounding the events than presenting a strictly chronological history lesson. Gressholman almost functions as a main character — a place where tragedy, superstition, and reality merge across generations.

Does the tracklist correspond to the chronological order of the events? What story (or part of story) does the title track tell?

The songs on the album follow a partly chronological progression. The first four — “Eventide,” “Oceans of Sadness,” “Black Hearts” and “Roses in Snow,” and “Black Waves” — portray the story from the period leading up to the murders and toward the impending verdict. After that, the album moves more freely through time, shifting back and forth between different eras. This was a conscious decision to ensure better musical flow and dynamics throughout the record as a whole.
The title track, “Black Waves,” is told from the perspective of one of the perpetrators behind the 1748 murders. Rather than describing the crime itself, the song focuses on what follows — the guilt, the paranoia, and the inevitable judgment drawing near. It represents the inner collapse before the physical punishment, where the sea almost appears as a judging force, bringing both truth and consequences to the surface.

“Wait for the Sun” was the first song to be released off the upcoming album. Does this song have any connection to The Doors’ "Waiting for the Sun"? I’m asking because Jim Morrison’s classic also pretty much speaks about hoping for changes for the better and uses the sun and freedom as its core metaphors… 

Yes, it was the first song to be officially released in a studio version, but we had already performed both that one and several other “Black Waves” tracks live before then. We played “The Monument” and “Lament Of The Damned” as early as 2019, and in 2022 we also included “Wait For The Sun,” “Silver Ghost,” and “The Still” in our setlist. Last year, we actually performed “Black Waves” at the world’s northernmost metal and hard rock festival, “Rockholm” — along with two brand-new songs, “The Call” and “Children Of The Lie,” which will appear on the next album.
“Wait For The Sun” has no connection to The Doors song with the same title. It deals with the most talked-about of the perpetrators — a young and beautiful woman in her twenties named Anna. In our interpretation, after her execution, she awakens aboard the boat of the Draug — a supernatural being from Norwegian coastal folklore, known as the ghost of a drowned fisherman who was never laid to rest in consecrated ground.
If there is one song on the album that is more fictional than the others, and not directly based on court records, you can probably guess which one. You will hear much more about the Draug on the next album. We’re currently developing a small mini-concept that, in our view, is among the strongest material we have ever written in Tomorrow’s Outlook.

Conceptually speaking, how does Aria’s “The Still” fit in the story of Gressholman? Did Norway also have a sea custom like the one in Great Britain, allowing sailors to kill and eat their fellows if that was the only way they could survive?

“The Still” has no direct connection to Gressholman, which is the central thread running through “Black Waves”. However, the sea and the tragic destinies involved tie it thematically to the album, and musically it fits well within the dark and atmospheric expression that both Aria and we represent.
As for such historical customs, there are a few well-known cases from British maritime history. In Norway, there have also been extreme survival situations at sea, but it was never an established or formalized practice.

Who did the English translation of “Shtil”? Did you reach out again to Margarita Pushkina (original Aria lyricist – ed.) to ask for her approval?

The translation was done by Alexey Spectre, with the blessing of Margarita Pushkina. As far as I know, they have collaborated on several projects before. It was Vitaly Dubinin who initiated and organized the entire process.
Afterwards, I personally reached out to Alexey to thank him for his help with the translation. Above all, we hope that Aria’s fans appreciate our version and see it for what it is intended to be — a tribute and an effort to make the song accessible to an even wider audience.

Aria members once told me in an interview that every time before their new album is out, they anticipate particular songs to become fans’ favorites, but it is often some totally different tracks off the same album that actually make it big. Is it something that you think about as well before a new set of songs sees the light? In particular, which songs on "Black Waves" do you expect your fans to like the most?

When it comes to “Black Waves,” I honestly haven’t thought too much along those lines this time. The album was primarily written as a cohesive listening experience — more like a continuous journey than a collection of standalone songs designed to function individually. We haven’t consciously tried to write any “instant hits,” and I don’t feel we’ve created anything aimed at broad appeal or going viral. That has never been our driving force.
That said, I naturally have my personal favorites. For me, “Lament Of The Damned”, “Black Waves”, “Wait For The Sun”, “The Monument”, and “Silver Ghost” stand out in particular. If I had to guess which one might reach the widest audience, I’d probably say “Silver Ghost” — it has a combination of melodic strength and atmosphere that could resonate with many listeners.
But as Aria themselves have experienced, audiences often surprise you. It might very well be a completely different track that grows into a favorite over time — and that’s actually a very positive thing.

I totally agree with you on “Silver Ghost”, it’s the song I tend to listen to (and watch the video) the most off the new album. By the way, you have already released three videos in support of the upcoming album. In your opinion, how important is the visual aspect of your music these days? Do you intend to publish more videos before or after the album release date?

The visual expression is extremely important to us — and we hope that comes across clearly through the album artwork and our collaboration with Rado Javor. We have actually already sketched the front cover for the next album and are just waiting for Rado to work his magic and truly bring it to life.
Personally, I like having the artwork ready at an early stage, because it gives me something concrete to draw inspiration from while working on the music. During the songwriting process for both “A Voice Unheard” and most recently “Black Waves,” I often found myself listening to the demos while studying Rado’s artwork. The visual universe simply helps me dive deeper into the atmosphere we want to create.
At the same time, we frequently send demos and new material to Rado along the way, so it’s very much a mutual process. We inspire each other — both musically and visually.
When it comes to videos and other visual content, it’s no secret that it’s expensive. Hiring skilled professionals for artwork and video production requires significant resources, so we have to prioritize and limit ourselves somewhat. We would love to create more and even more ambitious videos, but at this stage the budget doesn’t allow us to go completely overboard.
For now, we don’t have any concrete plans for additional “Black Waves” videos — except that we do have some green screen footage from “The Still” cover. Something might very well come out of that after the release.

How much are you playing live these days? I know you played the Rockholm festival in Harstad in July 2025, but that is the only Tomorrow’s Outlook show ever that is mentioned on setlist.fm. How do you put together the setlist?

We’ve actually only played three shows as Tomorrow’s Outlook so far — and all three have taken place at Arena Gressholman, which is a very local and special place for the three main songwriters in the band. In 2019 and 2022, we performed at the Gressholman Festival, which is a more mainstream event held at the same venue, and last year we took the stage at our own festival, “Rockholm.”
Gressholman has almost become our little curse — maybe we should never have dared to dive into such a pitch-black concept! Just kidding. It has actually been a fairly conscious decision on our part to hold back a bit and build ourselves up gradually — both in terms of our catalog and our position on festival lineups. We’re also not in a position where we can buy our way in as support for bigger bands or play for free at just any festival. That said, the plan is to actively pitch ourselves for the 2027 festival season. The rest of this year will largely be dedicated to further songwriting and promotional work.
As for our setlists, Andreas, Øystein, and I have mainly outlined the songs we believe work best live. Owe and Tony have also contributed valuable input along the way. We usually arrange the running order ourselves, but Tony often provides wise feedback regarding what works best for his voice. We have many demanding songs, so we need to take into account that he has to warm up both the “engine” and the air compressor before tackling the most extreme sections.

Which Tomorrow’s Outlook songs have been the most successful so far in terms of streaming/sales figures and in terms of crowd reception at your live shows? Does Tomorrow’s Outlook have its own “Ulitsa Roz” that fans want to hear at every show?

Without any doubt: “Fly Away.” It works incredibly well live, and it’s simply impossible to leave it out of our setlist. The song has been streamed over one million times on some of our platforms. For bigger and more established bands that might not be a huge number, but for us it means a lot — and we think it’s incredibly cool. It’s almost a shame that we don’t yet have a proper studio version with Tony on vocals, but that will hopefully happen sooner or later.
Right behind that, I would highlight “Outlaw,” which has also become a clear audience favorite. It’s a bit more laid-back in its expression, but definitely one of the songs we’re most proud of. A very atmospheric and powerful track in a live setting.

A post on your socials mentioned that you have major touring plans for 2027. But what about playing live later in 2026 following the album release? And could you say a bit more about “new music” to follow after “Black Waves” that you mentioned before? 

It’s not entirely accurate that we have major touring plans for 2027, but we do have ambitions to secure spots at selected summer festivals. We definitely want to play more live, but it has to be financially sustainable. Considering how much we’ve invested ourselves in our album releases, we’re not in a position to jump into projects that operate at a loss.
As for new music, I can already promise that something will follow shortly after the release of “Black Waves.” We want to introduce the Draug concept we mentioned earlier in the interview through a new single with the working title “Beneath the Blackened Tide.” Andreas and I fully agree that this is both the catchiest and, at the same time, the most magical song we’ve written in Tomorrow’s Outlook so far — and we’re incredibly excited to share it.
Musically, it’s a natural progression from both “A Voice Unheard” and “Black Waves.” At the same time, we’ve challenged ourselves to write something that remains dark and somber within our Arctic Heavy Metal universe, yet so enchanting and atmospheric that it feels truly unique. Hopefully, we’ll be able to present the single together with the artwork for the upcoming album — which will also be something very special.

To wrap up this interview, what is your biggest wish for 2026 for yourself and your fellow bandmembers (music/band-related or not), and what would you like to wish to your fans/our readers for 2026?

Well, we all have our own lives outside the band — families, jobs, projects, and personal interests. So first and foremost, I hope that each of us experiences growth and meaning in what we do, both musically and privately.
As for Tomorrow’s Outlook, I hope 2026 will be a year where we can build further on what we’ve started with “Black Waves” — not necessarily that everything “explodes,” but that the music reaches a bit farther, connects with more people, and opens up new opportunities for us to grow.
To everyone who has read this interview and follows us: I hope 2026 brings good health, fresh inspiration, and meaningful experiences — whether that’s through music, travel, friendships, or simply the small moments in everyday life. If our music can be a small part of that soundtrack, then we are more than satisfied.

Tomorrow’s Outlook on the Internet: https://www.facebook.com/tomorrowsoutlook/ 

Interview by Tatiana Vinokurova
Translation by Roman Patrashov
Photos courtesy of Trond Nicolaisen / Sörvik Rock Music
February 21, 2026
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