Today it is difficult to escape the noise: the noise of the street, the noise of the news, the noise of everyday life and the noise of our inner self. That is why it is becoming more and more important to find moments to return to ourselves, to feel something real and to allow silence to help us reconnect with our hearts. Shelter is an Estonian label that aims to give local artists from different countries a voice to create music with identity.
“It's a reminder that music, especially when it's personal, speaks a language that transcends borders," they say of their latest project, Aveen: a compilation of eighteen tracks created by thirteen artists from different corners of the world who wanted to express what worries, oppresses and stresses them in recent years. You don't need to be a music expert, just sensitive enough to feel it. Today we talk to them about their latest works, the values that unite them and why now is the moment to make this project.
Shelter is a company that encompasses several areas of the music industry. It is a collective, a record label and also a promotion company. How was it built, and what is the essence and mission that brings it all together?
Shelter came together because we felt something was missing in the local scene. Like in many places, a few dominant genres were taking up most of the space, and alternative or experimental voices didn’t have much of a platform in Estonia. We wanted to change that — to bring forward artists who are doing something different and important in electronic music today.
From the beginning, we wanted Shelter to be more than just another event with a DJ lineup. We focused on building an atmosphere — working on stage design, collaborating with visual and contemporary artists, and thinking about how the whole experience feels, not just how it sounds.
Another important part of Shelter has always been about paying attention to what’s happening in the world. Too often, humanitarian crises are only visible when they happen close to home. But human suffering is the same everywhere, no matter who it affects. That’s why we decided to donate profits from our showcases to causes that need support — including in Ukraine, Indonesia, and Palestine.
At its core, Shelter is about bringing music, art, and a sense of responsibility into the same space — in a way that feels honest and necessary.
From the beginning, we wanted Shelter to be more than just another event with a DJ lineup. We focused on building an atmosphere — working on stage design, collaborating with visual and contemporary artists, and thinking about how the whole experience feels, not just how it sounds.
Another important part of Shelter has always been about paying attention to what’s happening in the world. Too often, humanitarian crises are only visible when they happen close to home. But human suffering is the same everywhere, no matter who it affects. That’s why we decided to donate profits from our showcases to causes that need support — including in Ukraine, Indonesia, and Palestine.
At its core, Shelter is about bringing music, art, and a sense of responsibility into the same space — in a way that feels honest and necessary.
It was born in Tallinn in 2022, and in just three years, it has grown rapidly. Do you remember a key moment or a particular challenge that has shaped your direction and growth?
Shelter’s growth is really thanks to the artists and community who believed in the vision and supported it from the start. It’s never been a solo effort — it’s something that’s grown through collaboration, trust, and a shared sense of purpose.
One of the biggest challenges was definitely the aftermath of COVID. Like everywhere else, the pandemic disrupted a lot and forced us to slow down. Coming out of it, we had to rethink how to make things sustainable — financially, emotionally, and creatively. That shift in mindset actually shaped Shelter in a good way. We realised that slowing down and being more thoughtful with what we do usually works better than trying to do everything at once.
One of the biggest challenges was definitely the aftermath of COVID. Like everywhere else, the pandemic disrupted a lot and forced us to slow down. Coming out of it, we had to rethink how to make things sustainable — financially, emotionally, and creatively. That shift in mindset actually shaped Shelter in a good way. We realised that slowing down and being more thoughtful with what we do usually works better than trying to do everything at once.
Now you're publishing Aveen, a third compilation for Mizgîn (2024) and Feyrûse (2023). What kind of evolution has music experienced from the first publication up until now?
From Feyrûse to Aveen, we’ve seen a clear shift — not just in sound, but in intention. The desire for pure, intimate expression has grown stronger. Feyrûse felt like a beautiful starting point — experimental, spontaneous, and open-ended.
Mizgîn was a bit more focused, and by the time we got to Aveen, the direction felt clearer. The tracks feel more connected — not because they’re similar, but because there’s a shared depth in how the artists approach their work.
Each release feels like a reflection of the emotional climate around us. If Feyrûse was full of questions, Aveen feels like a quiet answer — not final, but honest.
Mizgîn was a bit more focused, and by the time we got to Aveen, the direction felt clearer. The tracks feel more connected — not because they’re similar, but because there’s a shared depth in how the artists approach their work.
Each release feels like a reflection of the emotional climate around us. If Feyrûse was full of questions, Aveen feels like a quiet answer — not final, but honest.
If I am not mistaken, in Kurdish, mizgîn means good news, feyrûse is turquoise, and aveen is love. How is this last concept reflected in the narrative?
Aveen means love, but not in a romantic or idealised way. It’s love as survival, as resistance, and as something that helps you stay clear-headed when things feel overwhelming. It also means “pure” or “transparent”, and that’s the meaning we leaned into while putting the compilation together.
When we were working on Aveen, many of us were drained — emotionally and mentally — watching one crisis after another unfold around the world. Going back to something simple and honest felt necessary. Not as a way to escape, but to reconnect with what matters. The tracks reflect that — they’re raw, direct, and made from a place that feels real.
When we were working on Aveen, many of us were drained — emotionally and mentally — watching one crisis after another unfold around the world. Going back to something simple and honest felt necessary. Not as a way to escape, but to reconnect with what matters. The tracks reflect that — they’re raw, direct, and made from a place that feels real.
This work has tracks from a wide range of genres, such as ambient, hypnagogic pop, trance, alternative techno, neo-perreo and GQOM. With this many musical styles, how does Shelter find a balance between diversity and coherence in the narrative?
We don’t really think in terms of genre when putting together a compilation. It’s more about the feeling each track carries. We never ask artists to fit into a certain “Shelter sound” — what matters more is the emotional tone, the energy behind the track.
Even if the genres are completely different, there’s usually a common thread — a sense of tension, release, or emotional weight that ties them together. We spend a lot of time on the track order and flow, so the compilation moves like a story, not just a collection of tracks.
Even if the genres are completely different, there’s usually a common thread — a sense of tension, release, or emotional weight that ties them together. We spend a lot of time on the track order and flow, so the compilation moves like a story, not just a collection of tracks.
What is the principal conceptual link between themes in spite of their stylistic differences?
Each track reflects a different form of catharsis. Whether it’s through distorted percussion, airy vocals, or ambient textures, they all carry a sense of emotional release. Some tracks are intense and confrontational; others are soft and reflective — but they all deal with the idea of moving through something heavy and coming out the other side with a bit more clarity.
That process of emotional processing — of sitting with discomfort or confusion and finding a way through it — is what ties everything together. Even with the wide range of styles, the tracks feel connected because they’re all expressing something real and personal. It’s not about sounding similar but about feeling something in common.
That process of emotional processing — of sitting with discomfort or confusion and finding a way through it — is what ties everything together. Even with the wide range of styles, the tracks feel connected because they’re all expressing something real and personal. It’s not about sounding similar but about feeling something in common.
It features eighteen artists from thirteen different countries, so the selection process must have been difficult. Tell us more about the challenges it faced.
While we’ve received some tracks through submissions, most of the compilation comes together by personally reaching out to artists whose work fits the theme and overall idea. All of the artists involved are incredible talents — we’ve been following their work closely, and honestly, we feel very lucky to have them on board.
The biggest challenge is communication. With such a diverse group spread across different countries and time zones, it takes time and patience to coordinate everything. We avoid group chats because we value personal connection — it’s important for us to talk directly with each artist, understand where they’re coming from, and build something together that feels intentional.
The biggest challenge is communication. With such a diverse group spread across different countries and time zones, it takes time and patience to coordinate everything. We avoid group chats because we value personal connection — it’s important for us to talk directly with each artist, understand where they’re coming from, and build something together that feels intentional.
How do you think the contributions of emerging local artists from places like Vietnam, Slovakia or Egypt enrich the message?
They bring context, texture, and perspective that’s often missing from the broader electronic music conversation. It’s not about diversity for the sake of it — it’s about hearing how these artists interpret electronic music through their own environments, daily lives, and struggles.
That’s what gives the compilation its sense of urgency and weight. It’s not just club music — it’s music rooted in place, identity, and lived experience.
What their contributions also show is that while the world can feel huge and divided, we’re not that far apart. The tools, sounds, and styles might change, but the underlying drive — to express something real, to imagine something better — is shared.
Hearing how artists from places like Vietnam, Slovakia, or Egypt channel that through their own cultural lens adds real depth to the project. It’s a reminder that music, especially when it’s personal, speaks a language that crosses borders.
That’s what gives the compilation its sense of urgency and weight. It’s not just club music — it’s music rooted in place, identity, and lived experience.
What their contributions also show is that while the world can feel huge and divided, we’re not that far apart. The tools, sounds, and styles might change, but the underlying drive — to express something real, to imagine something better — is shared.
Hearing how artists from places like Vietnam, Slovakia, or Egypt channel that through their own cultural lens adds real depth to the project. It’s a reminder that music, especially when it’s personal, speaks a language that crosses borders.
Also, five of the talents are from Estonia. How has the development of the electronic music scene in this country been, and what role does Shelter play in breaking boundaries through its international outlook?
Estonia is a small country — just over a million people — and like any small scene, it comes with its challenges. But it’s also full of incredible talent that we think deserves a wider audience. There’s a lot of experimentation here, but historically, the scene has been a bit isolated.
One thing we’ve tried to do with Shelter is to create bridges — both by inviting international artists to perform here and by helping Estonian artists get visibility abroad. Our radio shows are part of that effort: on Estonian IDA Radio, we focus on standout international artists, and on France’s Ola Radio, we highlight local and regional talent that we feel needs to be heard.
By putting Estonian artists side by side with international names in our compilations and events, we try to blur the line between what’s “local” and what’s “global”. That kind of exchange helps the scene grow in both directions, and it’s something we care about deeply.
One thing we’ve tried to do with Shelter is to create bridges — both by inviting international artists to perform here and by helping Estonian artists get visibility abroad. Our radio shows are part of that effort: on Estonian IDA Radio, we focus on standout international artists, and on France’s Ola Radio, we highlight local and regional talent that we feel needs to be heard.
By putting Estonian artists side by side with international names in our compilations and events, we try to blur the line between what’s “local” and what’s “global”. That kind of exchange helps the scene grow in both directions, and it’s something we care about deeply.
It’s all about the need for emotional catharsis. How will this project help people get through these turbulent times in Europe and just liberate themselves?
Not just in Europe — all over the world. What’s happening in Gaza, Turkey, Sudan, Congo, Yemen... these are not distant issues. They affect all of us, and they’re not just things we should be talking about — they demand action. That includes putting pressure on local governments, supporting grassroots efforts, boycotting institutions or companies that are complicit, and using whatever platforms we have to make these realities harder to ignore. Distance doesn’t make the suffering any less real — silence only makes it easier to continue.
The world feels incredibly overwhelming right now, and people are looking for more than just distraction. There’s a need for something that feels honest — something that helps people pause, reflect, and maybe feel a little less alone.
If anything, we hope this compilation offers a moment of relief. Even just an hour to step away from the noise, feel something real, and come back to yourself — that’s already something.
The world feels incredibly overwhelming right now, and people are looking for more than just distraction. There’s a need for something that feels honest — something that helps people pause, reflect, and maybe feel a little less alone.
If anything, we hope this compilation offers a moment of relief. Even just an hour to step away from the noise, feel something real, and come back to yourself — that’s already something.
There will also be a special event in Tallinn with performances by Kamixlo, Assyouti and qwqwqwqwa, among others. What can the audience expect from this event?
It’s a fifteen-hour program spread across three stages and two venues — probably our most ambitious event to date. The lineup is intentionally diverse, both culturally and stylistically. You’ll hear sets that make you move, reflect, and release.
We’re treating it as more than just a party. It’s a gathering — a space to feel something together and to mark what Aveen stands for. And since it’s also Shelter’s third birthday, you can definitely expect a bit of chaos — in the best possible way.
We’re treating it as more than just a party. It’s a gathering — a space to feel something together and to mark what Aveen stands for. And since it’s also Shelter’s third birthday, you can definitely expect a bit of chaos — in the best possible way.
What are the plans for the future for the further promotion of your music in five years time?
Oh, plenty of things. We have a number of new releases in the works, and we’re planning more international collaborations with collectives and creatives from different corners of the world.
We also want to organise more events outside of Estonia, especially ones that spotlight local and regional talent. One thing we're really excited about is starting educational programmes — helping younger people get a sense of what happens behind the scenes in the music world, from organising events to running a label.
We’re also working on a new project that focuses on amplifying diaspora voices across Europe — giving space to artists navigating multiple cultural identities.
We’re not in a rush, but we’re in it for the long run. The goal is to keep building spaces where artists and communities feel seen, supported, and heard — especially in uncertain times.
We also want to organise more events outside of Estonia, especially ones that spotlight local and regional talent. One thing we're really excited about is starting educational programmes — helping younger people get a sense of what happens behind the scenes in the music world, from organising events to running a label.
We’re also working on a new project that focuses on amplifying diaspora voices across Europe — giving space to artists navigating multiple cultural identities.
We’re not in a rush, but we’re in it for the long run. The goal is to keep building spaces where artists and communities feel seen, supported, and heard — especially in uncertain times.
