Warner Music Finland announced on Friday morning that it had bought Mökkitie Records’ music catalog and the related publishing rights.
The company’s artists include, for example Olli Halonen, Erika Vikman and Arttu Wiskariwhose production the company was originally founded as a publisher.
Mökkitie has cooperated with Warner, especially regarding Wiskar, for a long time, but now the company, which has been growing strongly for years, will be completely transferred under Warner.
The purchase price has not been made public, but the CEO of Warner Music Finland Ramona Forsstrom tells HS it is “significant”. According to the agreement, many of Mökkitie’s key players will continue to work for Warner’s bread.
For example, Arttu Wiskari signs a multi-year artist contract with Warner, and the author of numerous hits for Wiskar and other Mökkitie artists Janne Rintala continues in Warner’s songwriting teams.
Wiskari’s production has been done under cooperation agreements with Warner since 2010, so it’s not about jumping into the unknown.
So what will change with the deal?
“From the point of view of listeners and artists, not much,” says Mökkitie’s CEO, reached on the run Was Germanywhich will continue artist development with Warner as before.
“The entire catalog will be transferred to Warner and Mökkitie Records will cease operations. Mökkitie studio will continue, and the company’s brand will of course exist, but nothing new will happen under it now.”
Mökkitie CEO Olli Saksa (front) and Arttu Wiskari in the studio in 2020.
It is easy to notice that Mökkitie, for example, currently does not have a website. The company can still be found on social media and the online store.
Saksa and Forsström say the deal has been planned for years.
“From an entrepreneur’s point of view, this is a scripted movie. In this industry, you never know how long you can continue your career, so under Warner, the future is more secure,” adds Deutsch.
The company has been remarkably profitable. The turnover has more than tripled to the million mark in just five years, and the operating profit grew to 158,000 euros in the 2025 financial year.
The company used to have three employees, now only two. At first there were three owners – Janne Rintala, Olli Saksa and Arttu Wiskari – now there are four, while also the producer Mika Laakkonen is involved.
“We currently have Dingo and Mamba on Spotify Finland’s most listened to songs.”
How has it been possible to create such a success story with such a small group?
“We have to thank our army of freelancers, who usually play a big role in this industry. We have employed dozens of people, including songwriters, producers and a live department that travels with the artists.”
“Otherwise, I would say that it has been a successful division of labor. Mika Laakkonen came on board when we wanted to make sure that production would not be interrupted, even if there were more difficult times. Be that as it may, the corona virus started right after that.”
The CEO of Warner Music Finland, Ramona Forsström, was photographed in 2023.
Ramona Forsstrom says catalog ownership is a key part of Warner’s strategy.
“The role and popularity of catalog music has grown in recent years, and from us, for example, Dingo and Mamba are currently among the most listened to songs in Spotify Finland.”
“The same thing is happening in Finland as it is in the world, that with artists’ tours or new releases, old music also comes alive even more.”
Forsström sees Mökkitie’s work as an exceptional way to stand out from the crowd, and does not believe that from the listener’s point of view, nothing will change with the deal.
“There will definitely be more hits.”
Forsström admits that Warner is also interested in other Finnish catalogs, but does not name names at this stage.
“There are indie record companies in Finland that have done a wonderful job, whose catalogs we would probably like to negotiate with in the near future.”
Are you worried about the popularity of old music in terms of new music?
“Not at all,” says Forsström. “New music is still clearly the most listened to, and at its best, old music supports it and deepens the listeners’ relationship with music.”
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