Rooted in Belarus and now based in Poland, Dymna Lotva create music that exists at the crossroads of grief, historical memory and spiritual resistance. Forced into exile after being banned from performing in their homeland, the band emerged from adversity stronger, more determined and more authentic than ever. In the following interview, Nokt (vocals/lyrics) and Jauhien (music/guitars) reflect on their journey, the inspiration behind their music, their relationship with the homeland they were forced to leave behind, and the power of art to transform pain into remembrance, resilience and catharsis.
How did the name Dymna Lotva come to be, and what was the original vision behind forming the band? Do you feel that your current sound still reflects that initial idea, or has it evolved through the experiences you've lived?
Nokt: From the very beginning, we wanted the name to be Belarusian and unique. So no demons names, each of which has 10 or more metal bands with the same name around the world! The name should also reflect the concept and atmosphere of our songs. And not limit us too much in the future. So we looked for unusual words for nature in the Belarusian language. It was simple: we made a list of words we liked and discarded those that were already taken. You'll laugh: in our language, there are 28 words for “swamp,” and almost all of them have long been taken by metal, rock, and folk bands!
Yes, we believe that Dymna Lotva still lives up to its name. After moving to Poland, we encountered a small problem: in Polish, there is a word “Łotwa,” which sounds and is spelled very similarly, but refers to the country of Latvia. This caused some misunderstandings. But it's no big deal, it seems that Poles are gradually getting used to us.
The history, memory, and pain of Belarus seem to permeate your music. How do you experience this connection today, especially after being forced into exile? Do you see your music as preserving your national identity or as a form of rebellion against it?
Nokt: This connection is always within us, regardless of whether we are at home or in exile. It’s our blood, our veins. You can pull your veins out of your body, but it will hurt. Yes, Dymna Lotva music is a part of our contribution to preserving our identity, history, and culture of our people. And yes, it is a form of resistance against those who are trying to destroy this identity.
Your lyrics are poetic and often rooted in historical or personal trauma. How do you choose the subjects for your songs? Do they stem from real stories, or do you begin with emotional states and build historical context around them?
Nokt: Jauhien first writes all the music and gives me more or less finished tracks. I listen to each track being alone and just hear what it should be about. Songs written around the same time have a similar vibe - that's how we end up with conceptual albums.
Your music is often described as a descent into the collective grief of a nation. Do you believe that sorrow functions as a creative force? Or is your art a way to exorcise that suffering?
Nokt: I think both statements are true. On the one hand, we cannot deny the creative power of negative emotions. Many musical styles, including doom metal and dsbm, are literally based on them. On the other hand, the life-giving power of art has been known to many peoples since ancient times. It is not only Belarusians who have a tradition of funeral songs. It is not only in Belarus that there is a tradition of mourners who cry, wail, and sing at funerals. At least, I have heard of similar traditions in Scotland.
By the way, some music journalists in Belarus have been calling me a mourner for many years, and I am proud of it. To live through and sincerely mourn your grief is the first step on the path to rebirth. I am glad if I can help people with this, even if only a little.
“The Land Under the Black Wings: Blood”: This album feels like your most politically and emotionally charged work. Can you tell us about the process behind its creation, and how Ales Adamovich’s book influenced its aesthetic and narrative?
Nokt: The process was very long and painful. I reread Adamovich's book several times, and also read and listened to other materials from survivors of the occupation of Belarus during World War II. Each song required complete immersion for several weeks or months. Then a break and the next song. I'm not sure we'll ever be able to repeat that.
In Blood, you use voice samples from I Am from the Fire Village. What was your intention behind incorporating real testimonies, and what emotional impact did you hope to achieve?
Nokt: I wanted to achieve an emotional impact that was as close to reality as possible.
Nokt’s role as a storyteller of pain, history, and resistance is unique. How important is the female perspective in Dymna Lotva’s music, especially in a genre traditionally dominated by male voices?
Nokt: The dominance of male voices in black metal saved so many stories and themes for me and my sisters that no one had sung about yet. Yes, the female gaze is important in our music - precisely because it differs from what we've heard in traditional metal. For example, our last album. How many metal songs and albums about war exist? It’s huge amount. How many about World War II? A lot. But usually that’s songs about soldiers. We made an album based on the stories of civilians - women and children - at war. That’s definitely female perspective.
From doom and post-black metal to DSBM and folk elements, your sound is constantly evolving. How do you maintain a clear musical identity while still allowing for creative transformation?
Jauhien: We don't think about preserving any kind of identity. We just make music the way we like it. At the moment, we like it this way. Perhaps in the future, we will want to make music differently - which means there will be different music. But nevertheless, I have my own compositional style and favorite techniques, and Nokt has own vocal tricks. Most likely, this will remain and will differentiate us from other bands.
Your albums have a cinematic, immersive production style. How do you approach crafting this atmosphere? Do you aim to evoke specific emotions or visual imagery in your listeners?
Nokt: The thing is, being a visual person by nature, I perceive music through visual images. Always. I hear a beautiful song and watch a movie in my head. For every song I like, I always have at least one scenario for a music video. When it comes to working on music, these visual images give rise to lyrics, vocal parts, and subsequently, covers and music videos. I am grateful to my bandmates for giving me the opportunity to work on visuals the way I want to.
After being banned from performing in Belarus and relocating abroad, how has your music and its message changed? Can art remain free when it’s born under oppression or fear?
Nokt: nothing needed to change. Real art is always free, even in prison. But we are happy to be able to play live and talk honesty and loud without feeling anxiety.
Dymna Lotva have been openly critical of dictatorship in Belarus. How essential is it for you to deliver a political message through your art? Do you believe music can truly influence social awareness?
Nokt: I don’t consider this as a political message. What we are talking about is not political stuff - it is literally a question of life and death for many people. But yes, I am sure that art can change the world.
Your live shows are often described as “rituals of remembrance.” How do you experience them personally? Are they acts of confession, mourning, or connection with your audience?
Nokt: All together. It is mourning, remembrance, healing, and what I call “emotional exhibitionism.” Emotionally, I feel better after concerts, especially for the first few hours. But physically and energetically, it can be hard. When I get home, I usually lie in bed for a day or several days. Sometimes a week. How nice that I can work from bed!
Do you consider yourselves part of the black metal scene, or do you see your music as transcending genre boundaries? Are there other bands or movements you feel a kinship with, artistically or ideologically?
Jauhien: Personally, I think we've reached a point where genre doesn't mean anything anymore. Musically, we don't really play black metal. We use elements of it. Just like we use elements of doom, folk, and post-rock. Yes, we are part of the black metal community and mainly play at black metal festivals and concerts. But I can't say, for example, that our fans are only black metalheads. People outside the genre love us too. For example, on Saturday we met a girl who listens to electronic music. She came to the concert with her friend, and now she has our CD at home. She said she really loved our music.
Nokt: I definitely consider myself as a member of black metal scene. Our drummer too. It’s already a half of the band! We can play anything we want, but music made by blackmetalheads belongs to black metal scene. Other people can agree with this or not, I don’t really care.
You often sing in Belarusian, which gives your music a unique voice. What does it mean to you to sing in your native language, and what message do you send to international listeners through that choice?
Nokt: The main message is: IT’S TOTALLY OKAY TO SING IN YOUR NATIVE LANGUAGE!
Your music videos are so impressive & deeply atmospheric and always not just simple promotional clips. How do you approach the creative process behind them? Do you see them as short films that expand your lyrical narratives, or as symbolic representations of the emotions within your music?
Nokt: as I said above, I always have visuals for music in my head. So yes, we never consider music videos as just a promo. Moreover, there were a lot of cases when we released a music video for the song long after the song/album release. I love visuals creation and I have a strong inner need to do this. I feel great when I clear my head of these images.
Your music can described as a cathartic experience that mirrors feelings of depression, loss, and existential despair. How do you personally relate to these emotions when creating music? Do you see Dymna Lotva as a means of confronting inner pain, or as a way to transform it into something meaningful and shared?
Nokt: It's a way of making lemonade out of lemons. I can't escape these emotions anyway. But you can use them to create something beautiful. Or something scary. Hah, sometimes I turn my nightmares into songs.
If you had to choose five albums that have most inspired you—either musically, emotionally, or ideologically, which ones would they be, and what impact have they had on shaping the sound and spirit of Dymna Lotva?
Jauhien: For me, it would definitely be these albums:
Slumber - Fallout (An album that made a big impression with its atmosphere and excellent arrangements.)
Mastodon - Leviathan (It was on a track from this album that I saw an interesting guitar tuning. A similar one is now used in Dymna Lotva. Which, in turn, influences the music.)
Amenra - Mass IIII (This album started my love for emotional and atmospheric post-metal.)
Cult Of Luna - Eternal Kingdom (I really liked the sound of the album itself.)
Arcturus - Aspera Hiems Symfonia (This album developed my love for interesting keyboard parts. This subsequently influenced my arrangements.)
Nokt: Ideologically I usually took inspiration from books. And as a singer I am inspired by great singers, not particular albums. But I’ll try.
My Dying Bride - Turn Loose the Swans - one of the first metal albums I’ve heard and still one of my favourites. Genial music and Aaron’s voice which teached me the really emotional vocals. Still my favourite male singer.
Cradle of Filth - Cruelty and the Beast - perfect combination of visuals, sounds and the overall theatrality into cinematic conceptual album. Early CoF music was so good, and I really love female vocals here. Additionally, Dani can teach us how to use different vocals nuances to create divercity (I mesh whispering, muttering, laughing etc etc etc)
Kroda - Поплач мені, річко… - here I heard the sound of Ukrainian folk instrument called ‘sopilka’ for the first time in 2007. I immediately understood that I want to play similar instrument. So I went to the store and bought my first soprano recorder. And since then I am playing folk pipes!
Darzamat - Transkarpatia - because of Nera’s vocal parts and her voice. If you understand, you understand.
Dead Can Dance - any album, or any Lisa Gerrard solo album, or anything with Lisa Gerrard voice. Let she sing anything and I will cry and shiver. And her voice range inspire me to train mine
After facing so many challenges, what comes next for Dymna Lotva and a new album? Do you envision new thematic directions, or will the memory and wounds of your homeland remain at the core of your art?
Jauhien: The next album will be a step away from our trilogy (The Land Under The Black Wings). It will be slightly different music. It will have different themes and a different sound. But it will still be in our style.
Your last words…
Jauhien: Listen to good music and come to concerts. Glory to Ukraine! Long live Belarus!
Originally published as part of the 20th issue (12/25) of Metal Defiance Fanzine. All interviews are strictly prohibited from being republished or reproduced, in whole or in part, without prior written permission from the publisher.