Seine
Seine have spent a decade evolving. Since their first record, the band has moved from guitar-driven post-punk, with Sno Sna, through a politically charged concept album, 22, to the hushed, language-obsessed Naizust. Their new album, Vreva, represents another turn: louder, more abrasive, and built for dancing, it’s another great album for what has been a strong 2026 so far for the Balkan scene.
We caught up with Ivan around the album’s release to talk about that constant reinvention, musical influences, overlooked regional artists, Vreva‘s underbelly, as well as what’s next for the group. Enjoy.
1. Vreva‘s been out for a little while now โ how has the response been so far, both from longtime fans and anyone hearing you for the first time?
The receptionโs been pretty good. I think much better than our previous albums, at least from the general public. Some are even saying this is our best one so far. I donโt know, but it does seem maybe our music managed to push through the 10-year resistance. Still early to say, though.
2. Sno Sna, 22, and Naizust each sound like meaningful evolutions of sound for the band: guitar-driven post-punk, a political concept record, then something closer to minimal trip-hop. Was that shift deliberate each time, or more of a reaction against whatever the previous record had become?
Nah, itโs just what drives me personally in a given period. Iโm speaking now as the main author of the songs. People often say weโre wandering around, but Iโd say that might even be a bit offensive. Although Iโm always moving, it doesnโt mean I donโt know where I am. You just go where your intuition takes you. Itโs not like we try hard to be different each time, thatโs just a byproduct of exploring music, not the intention itself. But it would be fun to make a very similar record this time, because you could then also claim that itโs different because itโs the same.
3. Naizust was built around language and words, with a much quieter, whispered delivery. What led you to push for a more abrasive and louder sound with Vreva?
I did want to shout a bit more. And to be able to dance to it. I donโt know. Naizust was created sitting down, Vreva standing up, quite literally. So again, you just do what you feel is right at any given moment. Although I must admit, I did get a bit tired of trying to perform Naizust in a rock setting, because it is, as you say, very whispery, which is not something you can always translate to live music in front of a live audience. So there was a bit of that, I think, just wanting to do loud bangers.
4. What’s on your mind with this record? I read that there isn’t a central concern in the way money and politics anchored 22 and language anchored Naizust. Is there still a common thread woven throughout the record?
I think there is. Sound-wise, definitely. Most of the songs were written after I bought a couple of KORG Volcas and went into an analog experimental deep-dive with my solo project eine. So I think the record sounds coherent. Also, there was a certain feeling of finality for me on this record, many a song here deals with that angst of screaming into the void forever, without anyone caring or listening to what you have to say. And after a while, that really makes you resilient, it still does hurt, but you realize you donโt actually care that much about anyoneโs opinion other than your own, and that you are apparently crazy enough to do this still, halfway through your 30s, which I think speaks for itself. But yeah, there is this question of oneโs legacy and the potential futility of all your work.
5. Given the constant evolution of sound, are the bandโs influences also constantly shifting? Are there any records from within the Balkans that have driven the bandโs style?
Oh, of course. But I wouldnโt say directly. You always absorb what is going on around you, at least subconciously. But I think since Repetitorโs first record, like 15 years ago, there was not a singular record which was groundbreaking for me personally, in the sense that it inspires you so much that you just want to do that forever. There was a couple, but not from the local scene. Still, the scene is rich and diverse and has created many beautiful records in the last decade or so. This year, I think Zadnji dan by Ika, or Igralom x Orkestar Bogdan Nikoliฤ Donja – โNiลกville Live 2025โ, or Klinika Denisa Kataneca, Ununani, or Sara Renarโs Njeลพne rijeฤi, this year maybe takes the cake for the amount of awesome releases going back at least ten years. I need to mention our good friends ลฝen, which are just one of my favourite bands on the scene, as well as their singer Evaโs new single Dลพemper.
6. Are there any artists from the regional scene that you feel are overlooked, or perhaps emerging?
I really like ฤuvarkuฤa from Osijek, they were born from the ashes of Harvo Jay. A really sonic blend of indie and punk, itโs just so colorful, while at the same time really noisy and full of energy and fun. I think they released their second album a couple of months ago. Also, my friend Mita from the already mentioned Igralom, with his solo project Dimitrije Dimitrijeviฤ. I think heโs absolutely phenomenal.
7. What does the rest of the year look like โ a break after touring with Vreva, or already thinking about what comes next?
Next week we got our big Zagreb promotion of Vreva, so weโre focused on that. And after that, a weekend in Sofia and Belgrade. Then we put the lid on for a couple of months and Iโll be focusing on finishing my first solo album with eine. I also plan on touring a bit with that one. But 2027. should be full of โVrevaโ shows.
8. Is there anything about this record you feel hasn’t been asked about yet โ something you wish people would pick up on?
Nah, I just want people to check it out and see for themselves. I donโt really like interviews for the most part, because to be perfectly frank, they are just advertisements for the record itself. So itโs all just secondary in nature. But I did enjoy this one.
Where to Find Them
Catch Seine at Vintage Industrial Bar, Zagreb on 8th October!
