$.pohhu¥ is a creative collective from Tartu, Estonia, built around artists, makers, friends, and people who kept making things even when there was no clear reason to expect money, attention, or permission.

Founded in late 2022, $.pohhu¥ started as a one-man army. In the beginning it was barely a collective at all. It was a name, an instinct, and a stubborn excuse to keep making things. Tracks, covers, visuals, files, discs, ideas, inside jokes, half-serious plans, and small pieces of culture that felt worth saving before anyone else had decided they mattered.

The point was never to wait for the industry to notice. The point was to act like the scene was already worth documenting.

The first real expansion came when Kevilnius joined in 2023. What started as one person carrying the name slowly became a wider circle of artists and collaborators. By the end of 2024, Kevilnius became an official core member during the formation of Dimensional Records Estonia OÜ, a more formal label structure created by people already moving inside the $.pohhu¥ world.

The easiest way to understand the structure is that $.pohhu¥ is the wider umbrella. It is the collective, the attitude, the shared history, and the place where the different projects connect. Under that sit names like Dimensional Records Estonia OÜ and ’59 Records Mõisavahe. Some parts are formal. Some parts started as jokes. Some parts became real because people actually put their time, money, work, equipment, files, covers, songs, videos, and sleep into them.

The founding core around this era included:

• Nigol a.k.a. DJ BRO
• BENA a.k.a. Benakanister
• Maxas Salovas a.k.a. DJ Jack Sandhill
• Kevilnius
• Annupannu
• Raza a.k.a. Razzadinka / Plue Buni$her
• Gustav Müürimägi a.k.a. Päkapikk Margus

Together, they turned $.pohhu¥ from a name into something people could point at. It became a loose system of artists, aliases, releases, arguments, jokes, designs, plans, and physical objects. A collective, a label family, and a friend group.

On 11 July 2025, jo$er a.k.a. Andri J. Hook joined $.pohhu¥ and became part of the expanding collective.

As of 2026, Benakanister and Annupannu have parted ways with $.pohhu¥. The rest of the core continues forward.

Modern digital media has made it normal for art to be measured by stream counts, playlist placement, retention curves, and algorithmic obedience. The machine rewards scale, repetition, and content churn. It does not care whether something meant anything to the people who made it.

$.pohhu¥ exists against that.

$.pohhu¥ exists because someone has to care before the algorithm does. Someone has to burn the discs, make the covers, upload the files, save the folders, fund the dumb idea, and treat the small artist like they are already worth documenting.

$.pohhu¥ operates across audio, video, design, visual culture, marketing, physical media, digital media, and whatever else needs to exist. It is not built to fit cleanly into one category. Sometimes the work is a track. Sometimes it is a tape, a disc, a cover, a video, a campaign, a website, an archive, or some physical trace that proves a moment happened.

We do more than release things. We build artifacts. Tapes, discs, videos, visuals, campaigns, archives, digital objects, and physical media that would otherwise get buried under the feed and forgotten by next week.

$.pohhu¥ puts back into the scene before there is even money to put back. That is the stupid and beautiful part. Passion cannot be priced correctly, and it should not have to justify itself to platforms, distributors, algorithms, or dead-eyed industry logic.

We believe small artists should still be able to leave a large impact. Not everything important needs to be optimized, monetized, or reduced to dashboard numbers. Physical releases, independent support, and scene-first thinking are how we help artists leave something behind that feels real, lasts longer, and means more than another number on a streaming platform.

On 7 January 2026, Kivi Baar let Nigol and Kevilnius display their digital art — printed out and hung across the venue.

The display consisted mainly of Kevilnius' art pieces, whereas Nigol brought out only a few pieces.

One piece from Nigol sold, and countless pieces from Kevilnius sold. The rest was donated to friends and family.

None of this should have been possible without our friend Tairi, who managed the internal communication and forwarded it to us — the key that let it really happen.

The gallery was open from 7 January 2026, 21:00 until the start of February 2026.