Russian Rocks Too (part 10 - end)

Performers of this cosmopolitan rock are the Moscow bands Splin and Mumii Trol‘, and therefore the solo performer Naik Borzov. Cosmopolitan rock is additionally performed by Blast, one in all the rising bands that perform solely in English and for English-speaking audiences.

Mumii Trol'

Russian Rocks Too (Part 9)

Through the Eighties, variety of proficient bands appeared within the Russian provinces. A band with genre of pop rock named Nautilus Pompilius, from a town of Ural Mountain, Sverdlovsk, was one from the provinces. Aside from that band, there's also a vocalist - former vocalist of that band - named Nastia Poleva. After being a vocalist for that band she made her solo career by formed and fronting her own band named Nastia.
Urfin Dzhus, a heavy-metal type of band also was a band from that province, and there are other bands like Chai-f, a distinguished R&B band. Chai-f actually combined the musical parts of West Russian folks music.
From the north of Russia, town named Arkhangel’sk, there's a band named Oblachnyi Krai (Cloudy Region).
Then there's Vostochnyi Sindrom, a band that come from the remote place which was a quintessential band that ever came from Siberia, powerful and uncompromising.
From Novosibirsk, one band called themself as Kalinov Most (Kalinov Bridge) uniquely mix a folk rock music with somekind of their versions of 'nearly' heavy metallic.

Nautilus Pompilius

Russian Rocks Too (Part 8)

Another influential Moscow band was Tsentr (Center), shaped in 1980 by singer-songwriter and bass player Vasily Shumov. Tsentr became known for its cool, monotonous, new wave vogue, Shumov’s detached manner and good, sardonic lyrics, likewise as its elaborate musical arrangements. Since 1989, Shumov has lived in California, where he has worked in electronic music. He has continued to be a very important presence on the Russian scene.

Tsentr

Russian Rocks Too (part 7)

DDT was another band from Leningrad. They were very successfull. Iurii Shevchuk fronted the band as guitar player and he was the main composer of songs for DDT. Shaped originally within the remote town of Ufa, Siberia's edge republic called Bashkir. But they constantly have trouble with native authorities thanks to Shevchuk’s uncompromising lyrics, that were crucial of the social issues. Some of them for example are the Afghan war, and therefore the forms and hypocrisy that made by the goverment of Soviet about their country's life.
In 1987 DDT moved to Leningrad (since renamed St Petersburg) to search for somekind of a liberal and inventive climate. They're remained active till this day and they are also very popular, with huge of following and massive audiences with their music which is mix of heavy metal progressive rock type of sound.

DDT

Russian Rocks Too (part 6)

The most necessary bands to come back out from Leningrad, other than Akvarium, were: Kino, lead by charismatic Viktor Tsoy; Alisa, an aggressive new wave band with tendencies towards heavy metal and a sound with intense drive; Televizor (Television), created in 1984 by keyboard player and vocalist Mikhail Borzykin; and Strannye Igry (Strange Games), one in all the foremost original and creatively daring Leningrad bands of early Eighties.

Viktor Tsoy (Kino)

Russian Rocks Too (part 5)

3: 1980--1991

By 1979, it's become apparent that sticking to art and progressive rock traditions has become a creative dead finish for Soviet rock. The arrival of punk rock was initially failed to received with enthusiasm by the Soviet rock community. Soviet rock musicians had no tradition of taking part in loud, dissonant, ‘dirty’ music not primarily based on engaging melodies. They were still enamored of a ‘clean’ sound, melodic tunes and elaborate arrangements, and striving for a chic musical palette. The liberating power of punk wasn't evident to them initially.

Andrey Panov aka Svin

Russian Rocks Too (part 4)

2: 1968--1980

Entered the Seventies, Russian rock split in 2. They have to learnt to sing in their own language, at the same time their musicians have to faced the very tightly controll of the VIA teams. This decade shown as the most uninteresting music ever created by Soviet rock musicians. The reasons are that 1st of all, t it increasingly harder for amateur bands to play and to perform. Punishment can be quite significant. Student rock musicians expelled from their universities for such offensesfor example. In some extreme cases, rock musicians were punished just for haul their equipment. Several musicians stay and hide in  their basements and garages. Some acoustic ‘private concert’ for a ‘chosen few’ friends flourished.

Mashina Vremeni

Russian Rocks Too (part 3)

Vladimir Vysotsky

What helped Gradsky in his efforts to make a national rock tradition was a parallel movement of so-called ‘singing poets,’ or singers-songwriters, known in Russia merely as ‘bards.’ This genre developed within the late Nineteen Fifties at the juncture of urban folklore traditions, peasant ballads and therefore the ‘criminal’ folklore brought into the cities by thousands of former prisoners getting back from Stalinist labor camps.

Russian Rocks Too (Part 2)

1: 1961--1968

In 1961, The first Soviet rock ‘n’ roll band, The Revengers, began to play in the capital of Latvia, Riga.  Modest instruments like homemade bass which used piano wires for its strings and electrical guitars from Czechoslovakia were used. Like all subsequent 1st generation Soviet rock bands, the songs they performed are mostly covers of rock ‘n’ roll standards. at college dances, The Revengers played music by Elvis Presley, Bill Haley and small Richard, and that they sang in bastardized English.

The Revengers

Russian Rocks Too (Part 1)

Russian rock was formed at intervals the confines of the multi ethnic Soviet Union. Non-Russian republics, like the Westernized Baltic states of Estonia, Latvia, Lithuania, and therefore the republics of the Caucasus region, notably Georgia and Armenia, became breeding grounds for rock music. Activities that were completely prohibited in Russia, and particularly in Moscow and Leningrad, were permissible within the republics thanks to their distance from the middle of power. Rock festivals and rock bands flourished in these republics, making an environment during which Russian rock musicians may develop their craft.

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