Rock music in Russia
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Russian rock music originated in the Soviet Union in the 1960s based on the influence of Western rock music[1] and bard songs, and was developed by both amateur bands and official VIA.
The "golden age" of Russian rock was during the 1980s (especially the era of perestroika), when the Soviet underground rock bands became able to release their records officially. During this period, "rock clubs" were created, such groups as "Kino", "Alisa", "DDT", "Bravo", "Nautilus Pompilius", "Aria","Chaif", "Grazhdanskaya Oborona" appeared and gained popularity, and already known groups, such as "Mashina Vremeni" and "Aquarium", began to publish albums officially.
Russian rock's characteristic feature was the emphasis on the lyrics. Due to its lyrical emphasis, it became a symbol of the youth of the Perestroika era. Russian rock of the 20th century is often considered a united cultural movement that has some common musical, aesthetic and ideological features.[2][3][4][5] In the 21st century, almost all genres of rock music exist in Russia, which is why "Russian rock" has become a more vague concept.[6][7] The majority of the Russian bands perform in the Russian language.
According to various polls,[8][9][10] the most popular Russian rock bands include Kino, Aquarium, Aria, Alisa, DDT and Agatha Christie.
History
The early 1960s: Local bard music and first western influences
By the mid-1960s,
At the same time, Russian rock was partly influenced by
Meanwhile, Western music was either being smuggled across the border or released by Melodiya as part of what was essentially state-run media piracy, with The Beatles taking a firm place in Soviet popular culture, and artists such as The Rolling Stones and Deep Purple completing a somewhat distorted picture of Western music.[25][failed verification]
The late 1960s and 1970s: Formation of the movement
In the late 1960s, the most advanced Russian rockers began experimenting with folk sound.[26]
The
However, the musicians of independent bands faced two problems that limited their activities. The first was the unavailability of recording studios (then sole record label, Melodiya, would later forge a partnership with international label EMI in the 70s[31][32][failed verification]). The second problem was that after completing higher education, musicians had to make a choice: to leave to work in their specialty or join a professional band - VIA (Russian: Вокально-инструментальный ансамбль, romanized: Vokal'no-Instrumental'nyy ansambl', lit. 'Vocal-Instrumental Ensemble').[33]
Guitar-driven bands evolved during this time, including Leningrad-based
In the early 1970s,
Another notable artist who started his activity at the same time is Alexander Gradsky, who fused bard music with Western rock.[36] As successful composer and singer, he was able to release some of his recordings through Melodiya since 1973.[37][38]
In 1970 and 1971, the first All-Soviet rock festival "Silver Strings" was held.[39][40] In 1971 and 1972, the "Pop Federation" organization was engaged in underground rock concerts.[41][42] Moscow Power Engineering Institute was the most famous venue for rock bands of the 1970s in Moscow.[43][44] In March 1976, Tallinn (ESSR) hosted the "Tallinn Youth Songs" Rock Festival, which brought together bands from different republics of the Soviet Union.[45][46][47] During this period, concert recordings, rather than studio recordings, were mainly distributed, which were rewritten as self-published from one owner of the tape recorder to another.[48] Since 1979, new underground recording studios have emerged (AnTrop,[48] Sverdlovsk Studio etc.).
For Leningrad, the concept of acoustic kvartirnik (house concert) was spread; Moscow bands performed mainly in electricity. "Ruby Attack", "Argonauts", "Mify", "Successful Acquisition", "Mashina Vremeni", "Sankt-Peterburg",[49] "Rossiyane", "Vysokosnoe leto", "Autograph", and "Voskreseniye" were among the main groups of the 1970s underground scene. Most of them were influenced by the styles of art rock, hard rock and progressive rock.
Some of the first officially published full-length rock albums were "Russian pictures" VIA "Ariel" (1977) and "Guslar" VIA "Pesnyary" (1979).[50] Some Soviet composers of the turn of the 70s - 80s worked in the rock opera format; the most famous works are "Orpheus and Eurydice" (1975), "The Star and the Death of Joaquin Murieta" (1978), and "Juno and Avos" (1981).
The 1980s: Golden era
In the 1980s, an underground scene of rock artists emerged who based their style on a mix of Western rock music (particularly from the 1960s and 1970s, but also, increasingly, on the emerging
In 1980,
In the late 1970s and early 1980s, a lot of amateur bands who signed labor agreements and contracts with various philharmonic societies of the USSR, such as "Mashina Vremeni",[60] "Zemlyane",[61] "Autograph",[62] "Cruise",[63] and "Dialog", among others, were able to break into professional scene.
Since the mid-80s Russian rock was also influenced by the Russian art group Mitki.[citation needed]
The lyrics of the Soviet rock bands often dealt with the darkest sides of 1980s Soviet life,[citation needed] such as domestic violence, alcoholism (an infamous song by Nautilus Pompilius contained the lines "Alain Delon drinks a double bourbon/Alain Delon doesn't drink eau de cologne" as a sarcastic contrast to the alcoholic father described in the song and an indictment of the escapist attitudes of state-run media) and crime, and often carried a hidden political message.[citation needed]
In consequence, the mainstream Soviet radio and television ignored Soviet rock bands, which often reached audiences only through word of mouth. The monopoly for music publishing in the USSR belonged to Melodiya, the Soviet record label owned and operated by the Council of Ministers through the Ministry of Culture. Melodiya had a strict policy against publishing rock music or underground musicians, while promoting VIAs, whose members (as well as the composers and writers who worked with them) were members of the Union of Composers. Some rock musicians (Yuri Shevchuk,[64] Yegor Letov[65] and many others) had problems with the KGB due to their public activities. During the early 1980s, Soviet authorities started to exert heavy pressure on amateur bands, banning underground concerts as a sort of illegal commercial activity and imprisoning some music promoters and sound engineers for earning money from underground concerts.
Many of the bands from the 1980s remain active and popular among Russian youth.[citation needed] The term Russian rock is often used[by whom?] to refer to the particular sound of these bands.[66]
Various music scenes
In the early- to mid-1980s, rock clubs were founded in Moscow, Leningrad (now Saint Petersburg) and Sverdlovsk (now Yekaterinburg). These three cities had their own rock scenes and friendly collaborations between artists were commonplace.
The
Bands from Sverdlovsk, such as Nautilus Pompilius,[73] Chaif,[74] and Agatha Christie,[75] produced more melodic music, making heavy use of keyboards and synthesizers.
Moscow rock bands, such as Aria,[76] Mashina Vremeni,[77] Voskreseniye, Center, Krematorij[78] and Zvuki Mu, were rather different from the others, and sometimes more discreet.[79]
The
At that time, the Russian heavy-metal scene originated thanks to bands like Aria,[76] Chorny Kofe and Master (formed by a few ex-members of Aria).[81]
The glam-metal band Gorky Park achieved high popularity in the west, and was even aired on MTV.
Russian punk's unique style is generally accepted[
Punk music movement
The
Aside from the traditional
Yegor Letov is considered [
In the late 1980s another band started operating in Russia, reaching a
Another cult band formed a few years later was Korol i Shut, introducing horror punk, using costumes and lyrics in the form of tales and fables. Through sophisticated texts and themes not usually explored by punk, and through a sophisticated punk sound, Korol i Shut achieved the status of one of the most popular bands in Russia.[88]
Tatars
Traditionally, Tatar rock music has been a
Other
has sung, at times, in her native Tatar.From underground to publicity
The late 1980s was a period of breakthrough for soviet rock music entering the public eye. Political and social changes in the country were very important for this process.
The censorship was still present, but not as rigid as it was in the 1970s or early 1980s. It took years for the first Soviet rock bands to enter radio and television programs, tour in major concert halls over the USSR, and to release their albums officially on Melodiya, in direct competition with the VIA groups.
The rock music situation changed during the perestroika era. Many Russian rock bands were able to tour and record in Europe and United States for the first time. As a result, in 1989-1991 the situation was completely different from that of 1985. Moscow Music Peace Festival was held in Moscow featuring western rock artists, Gorbachev accepted Scorpions in Kremlin,[89] Brian Eno produced an album by Zvuki Mu, and Dave Stewart (of Eurythmics fame) produced Radio Silence by Boris Grebenshchikov for the release in the western world.
With Joanna Stingray's initiative, in 1986 the Red Wave compilation was released in the United States. It was a double split album with four bands from Leningrad: Aquarium, Kino, Alisa, and Strannye Igry, with one side of vinyl for each band. This compilation was the first official Russian rock release in the west. Stingray sent copies of the release to Ronald Reagan and Gorbachev, with a statement saying that musicians had already done what both presidents could not do diplomatically. Melodiya's reaction was an official release of a record by Aquarium in order to create the illusion that recordings of the band were also widely released in the USSR.[90]
Television and film also contributed to the breakthrough of Russian rock to the public in the 1980s. New musical television shows, such as Muzykalny Ring (Музыкальный ринг) and Programma A (Программа "А"), invited rock artists for interviews and live shows. In the late 1980s, several films featuring Russian rock musicians as actors were released. These films include
Estimates of the popularity explosion of Russian rock in that period are ambiguous. In a series of articles devoted to the history of the Soviet Union, "
The 1990s: Post-Soviet era
The beginning of the 1990s are considered to be the end of the "classic" Russian rock era. The two events that mark its end are the death of Viktor Tsoi in 1990 and the dissolution of the Soviet Union in 1991. Nevertheless, the Russian rock sound continued to live, and the new Russian rock sound of the '90s was based on it. Many Soviet rock bands, such as DDT, Nautilus Pompilius, Mashina Vremeni, were still popular. In 1996 the recording company Moroz started releasing the highly popular series Legends of Russian Rock.
In the mid-late 1990s the radio station Nashe Radio was created to promote Russian rock artists, broadcasting in all major Russian cities. Nashe Radio notably influenced the public's auditory taste, and helped many artists gain popularity. The radio station founded Nashestvie, the largest open-air rock festival of Russian rock music, performed annually from 1999-2019, and was always headlined with famous rock acts.
Often aired by Nashe Radio, bands like
An eminent representative of the heavy metal music genre was Aria, which had achieved great recognition and popularity among a wide audience in the 1990s.
In the late 1990s, numerous punk, pop-punk and grunge bands broke through. Sektor Gaza was first Russian band to use curse words and vulgar short stories in its lyrics. The horror punk band Korol i Shut managed to achieve a cult status and mainstream success using fairy-tale inspired lyrics.[97] Other notable punk artists included Pilot, Lumen, Tarakany!, and Nogu Svelo!.[75] Many of them developed an original sound and included involvement of unconventional instruments like violin.
The Russian instrumental rock artist Victor Zinchuk reached international success with his solo career, and with that brought the Russian instrumental rock scene to a bigger audience.[99]
The western Pop rock sound was introduced by Ilya Lagoutenko's Mumiy Troll,[100] who made their records in the UK under the guidance of UK producers. This less lyrically loaded and more energetic style, frequently referred to as rockapops, which was also used by other notable musicians such as Zemfira, and became prevalent among the younger public.
The Russian crime films Brother, with its soundtrack featuring the band Nautilus Pompilius, and its sequel Brother 2, which featured music from various Russian rock artists, brought many young fans to Russian rock.[101]
The 2000s: Further development
The 2000s in Russian rock were marked by both a continuance of the 1990s and something of a comeback of the classic 1980s sound. In the years following the renaissance of Russian cinema and rock, rock in Russia seemed to gain enough ground to differentiate widely through various genres. The 2005 Live 8 concert in Moscow featured mainly Russian rock artists.
Alternative metal, Nu metal and metalcore gained wider popularity at that time. In the mid-2000s, bands like Amatory, Tracktor Bowling, Grenouer, Slot, and 5 Diez were established, and were intensively promoted by the Russian television channel A-One. The channel awarded many of them with the Rock Alternative Music Prize .[citation needed]
The Russian
Folk rock music had a revival following Pelageya's and Melnitsa's rise from underground acts to bands that were played on the radio,[102] and the attention pagan metal bands like Arkona received.
Though the Russian
The 2010s: Decline
Despite the fact many bands from previous decades are still active, such as
Rock musicians divided by the Crimean Crisis
The annexation of Crimea by the Russian Federation in 2014 divided the Russian rock community into supporters and opposers of the move.[107] Former Aria leader, and current leader of the band Kipelov, Valery Kipelov, expressed support of the "annexation", and stated that it should've been done in 1991.[108][109] He performed at music festivals celebrating the event in Crimea.[110][111]
Konstantin Kinchev and his band Alisa, considered to be among the pioneers of Russian rock, expressed support of the move, and cancelled all of his concerts in Ukraine.[112] Kinchev had already expressed views supporting the return of Crimea to Russia in 2008.[113]
Other prominent figures in Russian rock who expressed support of the move included Chaif,[109][114] Chicherina,[115][116] Alexander F. Sklyar,[107][117] and Vadim Samoylov (ex-Agatha Christie member).[118][119]
On the other hand,
The musicians who didn't criticize the annexation, spoke against war in general, and called for peace between the peoples, were prominent figures such as Boris Grebenshchikov (Aquarium) and Vyacheslav Butusov (Nautilus Pompilius).[124]
Characteristics
Fans of Russian Rock would frequently refer to most of the music on
In contrast to Western rock, Russian rock is often said to have less drive; it is characterized by different rhythms, instruments and more involved lyrics. Unconventional instruments have often been used in addition to the standard electric guitars and drums associated with rock music (very often
Another characteristic of Russian Rock is being partly
Considering its poetic roots (Russian literature, bard music), lyrics play a far larger role in Russian rock than Western rock. Vocal melody is sometimes eschewed in favor of a more impassioned delivery (Viktor Tsoi, the lead singer of Kino, pioneered a characteristically strained, monotonous style of singing that has been imitated by many).
The metaphor of Russia facing both East and West is epitomized by the double-headed Eagle on its coat-of-arms. The Eastern influence in the Russian rock is heard in soundtracks from movies like Day Watch, which has Tamerlane's legend of the Chalk of Destiny at its roots. Russian rock expressively used and integrated elements from both Western and Eastern culture (especially from countries of the USSR).
Yngvar Bordrewich Steinholt
Wordplay
In Russian, the original meaning of word "рок" is "fate" or "doom". The word is used almost exclusively in fiction, especially poetry (a more widely used synonym is "судьба"). These correlate with the poetic roots of Russian rock and its attention to "serious" topics.
The wordplay is used in the song "This is Fate" (
See also
- Legends of Russian Rock
- Rock and roll and the fall of communism
References
- НГ— Культура, May 15, 2017
- ^
Здесь надо понять, что когда мы говорим о русском роке, то имеем в виду целостное стилистически движение, русские тексты и особого рода музыку. // Я введу вас в мир… поп / Троицкий А., Стечкин И. М.: Время, 2006 ISBN 596910096X, 9785969100961
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В этих условиях русский рок создал целую инфраструктуру <…>, вполне организованное движение, включавшее в себя клубы, самодеятельные студии звукозаписи, обширную самиздатовскую прессу, <…> фестивали, собиравшие обширную аудиторию…
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РУССКИЙ РОК, НАЦИОНАЛЬНЫЙ РОК. За неимением лучшего, этим термином обозначают направление в отечественном рок-движении, ориентированное на соединение традиций рок-н-ролла и русского мелоса.
- ^ Артемий Троицкий: «Рок перестал быть режущим предметом» — Радио Свобода, 29 декабря 2016
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С повсеместным распространением интернета, слушатель переориентировался на западные образцы. Волну подхватили молодые музыканты, тут же принявшиеся копировать зарубежные музыкальные тренды — эмо, инди, брит-поп, и пр. Слушать русский рок стало не модно. В интернет-сообществах надоевшее направление тут же окрестили «говонороком», а его приверженцев — «говнарями».
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External links
- Largest and free mp3 archive of different russian rock gentres, oldies and new most important bands. Site in English
- List of Russian bands
- Russian Music on the Net: Site about Modern Russian music with many Rock bands
- History of Rock Music In Russia
- A list of Russian rock bands who reached a legendary status
- Annotated library of modern Russian music - including Russian rock
- A quick overview about Russian rock (in Russian)
- Information about Russian rock history (in Russian)