Ветераны британского DIY хардкор-панка из Скарборо, графство Северный Йоркшир.
Writing on the official website of St Petersburg’s alternative rock band TEQUILAJAZZZ, its singer and bass player Yevgeniy “Ay-Yay-Yay” Fyodorov announced that the band “has ceased to be active in the incarnation that you are all familiar with, and many of you love. RIP.”
Fyodorov added that the decision was made following the end of TEQUILAJAZZZ’s last tour in December 2009 and that the gig at St Petersburg’s Zoccolo club on March 25, 2010, was their last. A planned appearance at Kubana festival in August was cancelled. Fyodorov promised that further questions related to the band’s demise will be answered in a future in-depth interview. Fyodorov titled a similar post on the band’s download page “Open secret”.
He thanked everyone “who was with us and supported us on this thorny yet fun path for the last – it’s scary to say – 17 years. Your help and fidelity, altruism, idealism and other important and right things have made this time unforgettable,” Fyodorov added.
The band, formed in 1993 by Fyodorov with guitarist Konstantin “Balbes” Fyodorov (no relation) and drummer Alexandr “Duser” Voronov, featured three former member of pioneering Leningrad punk band OBYEKT NASMESHEK. Yevgeniy Fyodorov had also had stints in KSK and AVTOMATICHESKIYE UDOVLETVORITELI, while Voronov also drummed in NOL for a few months. After OBYEKT NASMESHEK split up circa 1991, future TEQUILAJAZZZ members played in one of Leningrad’s first hardcore punk bands, PUPSY. Their new project debuted at the TaMtAm club in 1993.
While initially influenced by the likes of NOMEANSNO, RAPEMAN, CRIME AND THE CITY SOLUTION or JESUS LIZARD, the band over the course of their career have significantly widened their palette. Their high ambition was noticeable early on, however, – even their first CD included lyrical nods to Serge Gainsbourg:
TEQUILAJAZZZ play “Rozenbom” at Art Clinic club in St Petersburg; lyrics are based on Gainsbourg’s “Chatterton”
The band signed with Moscow indie label FeeLee for their second full-length, “Virus”, which made the band one of the more popular alternative rock bands in Russia. The band’s biggest hit, “Winter Sun” (Rus: Zimneye Solntse) was featured on their third CD, “Celluloid”, released in 1998. “Journal of the Living” (Rus: Zhurnal Zhivogo) in 2009 was the band’s sixth full-length proper. There are also numerous singles, some self-released, live and compilation recordings; the band also backed KOLIBRI on their 1997 album “Sugar Demon” (Rus: Bes Sakhara).
The band’s lineup always included the core trio of Fyodorov, Fyodorov and Voronov but there were some extra members over the years, most notably guitar player Oleg Baranov (S.P.O.R.T, BONDZINSKIY etc.) from 1998 on. TEQUILAJAZZZ toured internationally, starting from a 1994 stint in France, although in the last few years of their existence they were not as active. They also opened for MOTORHEAD, RAGE AGAINST THE MACHINE etc.
In 2004 Yevgeniy Fydorov formed a “supergroup” with several luminaries of St Petersburg music scene, OPTIMYSTICA ORCHESTRA, which now is likely to be his main band.
TEQUILAJAZZZ play a song by Yevgeniy Fyodorov’s cousin Andrey “Dyusha” Mikhailov written in 1982 for KSK, “Blyakha-Mukha”, at a St Petersburg TV studio
UPDATE: St Petersburg Times interview.
Belarusian-language sources report that around 40 members of the Sayuz Palyakaw (which represents the country’s ethnic Polish minority and is not recognised by the authorities) were arrested on February 15 for participation in an illegal rally in Hrodna on February 10, 2010 which protested the treatment of the Polish minority and commemorated the 70th anniversary of deportation of the Polish inhabitants of Western Belarus to Siberia after it was occupied by the Soviet Army at the start of WWII. Apparently the activists were on their way to the town of Valozhin where a court case related to the grievances of the local Polish community was to be heard today.
Those arrested include the organisation’s Head Council chairman Andrei Pachobut and its press secretary Ihar Bantsar who were both sentenced to five days in gaol for their part in the action. Right after being sentenced Bantsar declared a hunger strike demanding to be released.
Pachobut used to be a bass player in the anarchist punk band DEVIATION which his brother Stas fronts. Bantsar is a singer with the Hrodna streetpunk band MISTER X.
BONDZINSKIY, named after some mate of theirs, were among my most favourite local hardcore bands as I was just getting into the whole scene. Their music (self-described as ‘mournful gnash’) displayed a rather bizarre mix of influences, with some jazz and reggae leanings, and song had seriously intelligent, pissed off lyrics. Between 1993 and 2003 they have had a whole lot of lineup changes, with only the drummer Igor Mosin and bassist Dima Petrov being the regular participants in their musical bacchanals – their Sly & Robbie act has formed back in the mid-1980s in DURNOYE VLIYANIYE and even featured a stint with the local punk legends BRIGADNIY PORDYAD.
I’ve found an interview with Dima (who also played with Sergey Kuryokhin’s POP-MEKHANIKA, Nick Sudnik’s ZGA and in SPITFIRE for a bit) from cca. 2006 which had rather silly questions, so I chucked them out and translated what he had to say:
The band history is incredibly complicated and complex, by lineup as well as by creative progression. The story of all this disgrace has to be started, after all, from DURNOYE VLIYANIYE, where I met the drummer Igor Mosin, with whom as a constant rhythm section we have gradually morphed from one musical hypostasis into another.
DURNOYE VLIYANIYE formed sometime cca. 1988-1989 and played gothic new wave, successfully gigging in St. Petersburg and at all sorts of regional festivals in the ex-USSR. The band got played on the popular John Peel show on BBC and supported the famous SONIC YOUTH in Moscow.
In 1990 DURNOYE VLIYANIYE were invited to tour West Germany – the Berlin Wall, by the way, was still safe and sound. The tour involved playing with German punk and hardcore bands in 10 West German cities. This was when we got introduced to the grandiose music school known as hardcore – from the inside and fully. It can be said that this trip made a fundamental influence on our musical outlook. After encountering new sound, new approach, the energy of this music, we were swept away, shocked, charmed. These were the new unfamiliar ways, new horizons, new possibilities.
We were particularly inspired by FUGAZI, BAD BRAINS, NO MEANS NO, VICTIMS FAMILY. After we got home, we necessarily got an urge to enflesh these new ideas but as it is known, new ideas do not blossom in old soil. So Igor and I started to play new material and also seek new musicians who could organically co-exist with us in this musical space. As a result, the collective called BONDZINSKIY came into being. Over the years we played music with the likes of Andy Kordyukov (ex-MLADSHIYE BRATYA, 17 PILOTOV V OGNE), Gennadiy Larichkin (now the leader of BER-LINN), Sergei Sokolov (now in PRAVDA), Andrei Mashnin (MASHNINBAND), Andrei Gradovich (JUGENDSTIL, now 2VA SAMALIOTA), Roman Boiko, Ilya Orlov, Dan Gutsenko (and about half a dozen more – translator’s note).
The 1990s will remain for me probably the brightest stage of St. Peterburg’s music life. Many musicians outgrew the boundaries of the Leningrad Rock Club which by then degenerated to all-sufficient, closed caste structure which stank of officialdom with elitism and conspiracy of silence inherent in such a system.
The Rock Club somehow faded away – the new epoch started. On the basis of the just opened TaMtAm club an entire scene of great bands appeared: BIROTSEFALY, KHIMERA, ZVONKI, SPITFIRE, THE PAUKI, DOLPHINS, TEQUILAJAZZZ, 5 UGLOV etc. (sorry if I forgot someone).
As it seemed to me, no one thought about making money, commercial success, we played for ourselves, for our friends, because there was internal need for that. It was an atmosphere in which experimenting and NOT looking like a snob was natural. Those who played hardcore in the early nineties were very close-knit – not so much musically, rather it was the shared attitude to life.
Music, especially rock music, cannot live in isolation, without exchanging creative ideas. Any movement gradually chokes up on its own foam. What can be more disgusting than mass producing your own past? For me making headway was always crucial. Henry Rollins once said that the past doesn’t exist and you have to prove to yourself that you are still alive every day.
I haven’t got the slightest desire to analyse the music of BONDZINSKIY. Because depending on the mood I could fall either into self-glorification or self-condemnation. One thing that could be noted was that the riff structure of songs played a bad joke on the band. We could have easily turned each piece into 5 or 6 separate songs but we were just throwing ideas away. And also, we have made a conscious decision not to limit ourselves with any concepts, for us it was natural to combine styles that were practically incompatible. Sometimes it looked forced, sometimes it was fun but it was never banal.
Like every positive passionate phenomenon, hardcore will not die in the foreseeable future. As long as there is social tension in the world, the hardcore will be refilled with fresh blood of radical and not indifferent young people.
The old generation goes – the new generation comes, the process continues – everything is logical. Not everyone manages to keep the active attitude. However I am saddened by the fact that the social pathos is reduced. When I see a bloke who works as a bank manager and plays in his hardcore band in the evenings (instead of blowing up said bank), I feel sad.
Also, it seems to me that rivalry in the so-called alternative music has to stop. Unite, and unite some more, no matter what the style is. It’s such a pity that the concept of “people of goodwill” has vanished. I long for positive counteraction and confrontation with all the glossy, glamourous scene.
Lately everyone has been literally going nuts over the external attributes, often forgetting the inner world. A desire to look trendy turns into a sort of general hysteria. Unfortunately these sentiments are projected on the musical material, the music gets castrated, completely glossed over, everything is so clean and smooth that it makes me sick. The inner nerve disappears, the admissible filth which makes rock music what it is.
To be honest, I do not know [who our listener is]. While BONDZINSKIY was around, I knew about ten people who really liked it, and all of them were musicians. That’s why I was so surprised to be asked about ‘the legendary BONDZINSKIY.’
After existing for about 6 years (more like 10 – translator’s note), playing a number of gigs in Russia and abroad, releasing two albums (the 2nd one was recorded but not released – translator’s note), the band ceased to exist. We have probably exhausted our inner potential, and we got pretty much sick of each other. Now I’m working on a new project called GRANDSHUTTLEBANDA.
Naturally, it has nothing to do with hardcore. For me it’s a totally different style but I was always interested in doing something new. At the moment we have recorded an album but we are still looking for someone to put it out.
Can’t be bothered with a proper update, so just a self-congratulating quickie.
One, yours truly has been interviewed by Danny O’Rawe in his zine Back2Front #5 which can be ordered at back2fron (a//e) riseup.net. I mostly mumble about politics and punk rock. It’s a great read although I haven’t yet finished reading it (gives you an idea of how bloody huge it is).
Also, a song by SVINOKOP (“Nikakogo Pozitiva,” a.k.a. “Only Hatred,” if you care to know) was used in a fairly random YouTube video documenting a protest in East Jerusalem.
If you google hard enough and will be able to stand some atrocious playing and immense amounts of blabbering about fascism in Russian you can see a live video of the same song which we played at the first gig with our new drummer. It’s quite raw but we intend to jam some more and put it out as a single. I kid you not.
This Lithuanian band is a truly weird, excellent and, alas, somewhat obscure example of the coveted East European punk rock. Macabre and merry in approximately equal measures, it is rather garage yet effective sounding. Cue organic-sounding keyboards throughout and occasional terrace-choir singalongs. Catchy tunes get their commercial potential squashed by moribund artwork, and hailing from where they did, in 1994, of all years, was perhaps a surefire way to remain (garage punk) unknowns. The tape was released by Tundra Records, and I remain clueless as to whether they had any other releases. They didn’t really have to; this is a masterpiece. I have no clue as to what they sang about, my non-existent Lithuanian is enough to catch enough mentions of the words like ‘death’ and ‘dying’ to put most grind bands to shame. The kind people at hardcore.lt uploaded the mp3s (in 2002), and I scanned the cover and the insert (it’s double-sided).
Quite a bit of time has passed since the last update. I think the chief reason I wasn’t motivated is because my ability to listen to music in digital format has been hindered somewhat. It’s still hindered, I’m not making any grand promises, no nothing, if I can’t be bothered I simply have bigger and better things to do with my life. Hopefully I’ll get around to doing a proper music zine, and not one of those little anarchist papers, or this blog.
Paaya in Brno, Czech Republic, has been stealing my bread – he has finished 2nd issue of his English-language East European punk rock fanzine which can be downloaded as PDF / MP3 archive here. “Contains interviews with HUMAN ERROR (Hungary), Sanych from DEFECT IN INDUSTRY zine and ME4TEC (Belarus), GRAZHDANSKAYA OBORONA (Russia), CRITICA RADICALA (Germany/Romania); scene report from Ukraine, articles about HC/underground in Latvia and History of Czech punk (KECUP, A64), lots of reviews, lyrics and photos.” They are making print version with a proper CDR attached in the spring.
Those with interest in MP3s and East European punk rock will find gratification in listening to Scairt Radio #09, January 11, 2010 which features Russian diy crust/d-beat punk scene & boozing with Jan from Kismet HC. The full list of songs that were played, as well as a download link, can be found here.
The soy milk of human kindness that runs through my veins directs me to provide you with something as cheerful as the English translation of the lyrics to DISTRESS song “Last Day of the Human Race” which you will have the pleasure to hear on the radio:
Days are numbered, the earth dies
As a living organism it closes the circle of life
Last day of the human race
For our sins, nature suffers
The earth doesn’t forgive such a mistake
Last day of the human race
I have quite some catching up to do.
The legendary St. Petersburg musician Grigoriy Grigoriyevich (Grikha) Sologub died in a local clinic on February 27, 2009 from heart failure. Born on July 19, 1961 in Leningrad, he was one of the pioneers of the new wave / punk movement in the city. He started out playing guitar, accordion and singing in ska / new wave band STRANNIYE IGRY (“Strange Games”) in which he joined his older brother Viktor in 1981 after a stint in hard rock band TEKH. POMOSHCH. They mostly used translations of French modernist poetry and chansons for lyrics (Brel, Brassens, Tzara, etc.) and combined them with inventive music that was devoid of cliches, innovative (for the Soviet scene of the era anyway) and alternately funny and sad, or bittersweet. They recorded two underground tape albums; “Metamorfozy” was issued on cassette in 1996 by Manchester Files, while their second, “Smotri V Oba” from 1986, was released on LP by Melodiya in 1988, one of the first Leningrad rock releases. Songs from both were also featured on “Red Wave” compilation 2LP. The band split up by 1986. Throughout the 1990s and 2000s STRANNIYE IGRY occasionally played reunion gigs – the most recent ones I can think of were in the Autumn of 2008. Local label Bomba-Piter works on a 3 CD set featuring STRANNIYE IGRY both studio albums and a live set from 1984. In early 1986 the Sologub brothers formed IGRY (“Games”). They were more guitar-orientated and heavier-sounding, more post-punk in approach. They toured internationally, recorded two albums in 1989 (one of which, “Krik V Zhizni,” was given a CD release in 1994 by Kontras) and mostly ceased activity in the 1990s. Both Viktor and Grigoriy Sologub played together in DOLPHINS which was one of the first hardcore bands in the city and existed between 1993 and 1995 (they released a self-titled tape on Kontras in 1996). Grigoriy also played in bands on his own. In 1992 he joined Alexandr “Alex Ogolteliy” Strogachov in ISRAIL who recorded an album which was issued on CD in 1998 – under the name NARODNOYE OPOLCHENIYE, because after a bit Strogachov gave the project the name of his most famous punk band. In 1994 Sologub joined MASHNINBAND, punk / alternative rock band with whom he recorded “Trezviye-Zliye” in 1995 (CD release in 2006 on Manchester Files) and then quit. He played in jazzcore band BONDZINSKIY for a short while – they had one song with ska bits and Sologub played it brilliantly, telling his bandmates that “no one plays ska in this city better than I do.” The alliance didn’t work out, and Sologub went to Canada to try and sober up through Alcoholics Anonymous. In 1997 he returned to musical activity becoming the new frontman of ska / pop band 2VA SAMALIOTA. That was probably one of the few projects that he was involved with which did release anything while he was actively involved (“Don Pedro, Gomez & Mamochka” CD on Zvezda Records). He was punk as fuck, a total nihilist, academically trained musician, and a true backbone of the local scene. It’s a pity that he lacked recognition in his lifetime. He always played in some of the best and most intense local outfits, and his music has been important for me throughout my life.
ZABAVY PROSTOLYUDINA (very loosely translated as “commoner’s fun”) from Pskov are what I’d term a cult band.
They started playing sometime in the mid-nineties, mostly gigged around Russian North-West – with some gigs being truly great and some being truly awful. The only official release they did was a split tape with St. Petersburg’s TRIBAL in 2002 on Caravan Records. It contained some, but not all, material of the then-recent sessions at AnTrop Studios in St. Petersburg. There are also early recordings with the participation of MARKSCHEIDER KUNST guitarist Vladimir Matushkin, a three-song CDR demo done at Dobrolyot studio, perhaps assorted live materials. There’s an animated video that Misha Safronov lovingly done.
I’d first encountered them in Summer 1997 which was when I took the photo above – they blew me away, gave me a tape (which is sadly unlistenable now, being an MK-60), and I occasionally had the pleasure of keeping in touch with them.
The band has never widely popular, largely due to lack of gigs and releases, but there was a small core of enthusiasts who appreciated their poetic lyrics, idiosyncratic, angular mix of post punk, indie, Russian rock, jazzcore and alternative music (which unfortunately led to some misguided experiments with rap-metal), and the overall charisma. There are faithful who still believe that ZABAVY PROSTOLYUDINA will one day forget about their modesty and laziness and start gigging again, or that at least their old songs will be reissued one of these days. There were rumours to that effect last year – also of the band’s continued existence, but, well, perhaps with the recession the CD won’t materialise after all…
Misha Safronov’s animated video for “Spichechnykh Korobkov Grokhotom”
Demo part 1
Demo part 2
St. Petersburg’s WE BLEED CHARISMA had an extremely short career cca. 2005. To my knowledge, they only ever played one gig, at Deep Sound Club at that, with GOODOK and KYSHTYM-23, a KING-KONGS side project. That was for a reason, only one of the members is a native of this fine city – singer Pavel Sasin (‘TIL I DIE, DOTTIE DANGER) aka DJ Pablo Diablo. Kostya Severniy the drummer was originally from Severodvinsk where he fronted pop punk band VYSHKA. He later drummed in CUT’N'RUN and is now in WIDOWLAND, as well as playing as a solo act which I personally find rather distasteful. French guitarist Seb is a member of SLEEP TALKER and CALL ME LORETTA. I dunno where the seppo sheila (the term used ironically) Naomi who was a keyboardist played before or after WBC, can anyone clue me in? They recorded nine songs, of which only a couple were properly mixed (and consequently released on a bunch of compilations in Russia and France). No cover, no nothing, can’t even find a band photo. It is still good. The degree to which English was mastered by this lot (who didn’t sing in Russian) is obvious from the name. Uploaded by Kostya.