Belarus’s 3 princes of melancholy, doom, and gloom Molchat Doma have announced that they will be traversing the globe on their ambitious New Wave Sadness tour, starting this autumn. Kicking things off in Minsk, they’ll be making pit stops in Finland, Sweden, Norway, Germany, the Netherlands, Estonia, Latvia, France, Denmark, Belgium, the UK, and Ireland in November. The following month, their European tour will see them in the Czech Republic, Austria, Poland, and Russia.
They’ll make their way across the pond to North America for Spring 2022, beginning in Phoenix on 22 April, making their way through Austin, Nashville, Chicago, Detroit, Toronto, Montreal, Boston, Philadelphia, Brooklyn, DC, Denver, Salt Lake City, Seattle, Vancouver, Portland, San Francisco, Los Angeles and more.
Molchat Doma will then wrap up the tour in Barcelona in June of 2022 at Primavera Sound.
Here is the complete listing for their tour dates below:
MOLCHAT DOMA – 2021/2022 WORLD TOUR DATES
09/30/2021 – Minsk, BY – Re:Public
11/05/2021 – Riga, LV – Melna Piektdiena
11/06/2021 – Vilnius, LT – Kablys+Kultura
11/08/2021 – Tallinn, EST – Hall
11/09/2021 – Helsinki, FI – Kuudes Linja
11/11/2021 – Stockholm, SW – Slaktkyrkan
11/12/2021 – Oslo, NO – Blå
11/13/2021 – Copenhagen, DK – Loppen
11/15/2021 – Hamburg, DE – Uebel & Gefährlich
11/16/2021 – Amsterdam, NL – Melkweg Old Room
11/18/2021 – Paris, FR – Le Trabendo
11/19/2021 – Brussels, BE – Botanique Orangerie
11/21/2021 – Brighton, UK – Patterns
11/22/2021 – London, UK – Electric Ballroom
11/23/2021 – Manchester, UK – Gorilla
11/24/2021 – Dublin, IRE – Whelan’s
11/25/2021 – Bristol, UK – Thekla
11/28/2021 – Cologne, DE – Essigfabrik
11/29/2021 – Leipzig, DE – Täubchenthal
11/30/2021 – Berlin, DE – Astra
12/02/2021 – Prague, CZ – MeetFactory
12/03/2021 – Vienna, AT – Flex
12/04/2021 – Poznan, PL – Tama
12/05/2021- Warsaw, PL – Niebo
12/26/2021 – Saint Petersburg, RU – Morze
12/27.2021 – Moscow, RU – Glavclub
04/22/2022 – Phoenix, AZ – Valley Bar
04/26/2022 – Austin, TX – Empire Control Room
04/27/2022 – Houston, TX – White Oak Music Hall
04/29/2022 – Nashville, TN – Exit/In
05/02/2022 – Columbus, OH – A&R Music Bar
05/05/2022 – Chicago, IL – The Empty Bottle
05/06/2022 – Detroit, MI – The Magic Stick
05/07/2022 – Toronto, ON – The Axis Club
05/08/2022 – Montreal, QC – SAT
05/10/2022 – Boston, MA – The Sinclair
05/11/2022 – Philadelphia PA – Underground Arts
05/12/2022 – Brooklyn, NY – Music Hall Of Williamsburg
05/14/2022 – Washington, DC – Black Cat
05/17/2022 – St. Louis, MO – Blueberry Hill
05/18/2022 – Kansas City, MO – Record Bar
05/20/2022 – Denver, CO – Gothic Theatre
05/21/2022 – Salt Lake City, UT – The Urban Lounge
05/23/2022 – Seattle, WA – Neumos
05/24/2022 – Vancouver, BC – The Rickshaw Theatre
05/25/2022 – Portland, OR – Hawthorne Theatre
05/28/2022 – San Francisco, CA – Great American Music Hall
05/29/2022 – Los Angeles, CA – The Fonda Theatre
06/11/2022 – Barcelona, ES – Primavera Sound Festival
Come with me sing a sad song There is zero sense in it, but where is he? Everything is sad in my apartment Floorboards creak, I’m used to it
Solitude can be a blessing and a curse, but Molchat Doma’s new video, Otveta Net, which translates as “no answer,” addresses the stark madness that memory and loneliness can create after the demise of a relationship. As Quentin Crisp once succinctly stated, “People who are lonely are those who do not know what do with their time when they are alone.”
The exquisitely filmed video, directed by Ira Rokka, depicts an emotionally-tortured man dragging an empty bathtub in a harsh landscape. Interspersed with flashbacks where the weary protagonist embraces a beautiful young woman, the two are seen intertwined in the tub, at once a cozy little cocoon surrounded by icy cold walls. It is a stunning visual metaphor for the regretful number. As with many May-December romances, the seasons changed, and all that remains is a ghost.
Otveta Net is a single from Monument, which dropped in November via Sacred Bones Records. Molchat Doma (translated as “Silent Houses”), founded in 2017 in Minsk, is comprised of Egor Shkutko, who sings the Russian lyrics in his deep tones, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths. Shkutko’s vocals weave between his distinctive deadpan and hushed introspection, teetering on the precipice between romance and tragedy. A beautiful presentation.
Italian darkwave trio Ash Codewere all set to embark on a series of European and American gigs, but when the dread plague Covid thwarted their plans, the trio had to change course. Suddenly, the band’s nearly completed LP got shelved because it didn’t fit with the reality of the moment.
Isolating themselves, occasionally slipping into pandemic gloom, the three spent the summer in Naples and re-connected with their home, once again finding inspiration to pen new songs…and give back to the community by establishing a series of online charity initiatives via series of online Gothic events title Gothicat Festivals, a curation of that in unity, gathered performers from all over the international darkwave/goth scene.
Now Ash Code presents a new video for their synthetic and kinetic Molchat Doma remix, of “Fear”, translated into Belarusian Cyrillic as страх. The song is “a thoughtful escape from the suffocating utilitarian architecture, which has become a safe cage due to the pandemic. A slow progressive advance towards the roots, the branches, the earth, to entrust to natural certainties the hopes for a future full of what we loved, but improved by the awareness of what we have always been.”
Watch the video for “страх” below
Ash Code’s new Fear EP, is out on the 19th of March. It includes 3 brand new songs and 3 remixes including the one by Molchat Doma, plus one from Clan Of Xymox, and Los Angeles’ Forever Grey.
To celebrate the release, the band will perform a Livestream event on 20th March on all Ash Code social networks. The band will perform a brand new live set with songs never played before, with some special guests.
Italy’s darkwave darlings Ash Codewere all set to embark on a series of European and American gigs, but when the dreaded Covid thwarted their plans, the trio had to change course. Suddenly, the band’s nearly completed LP got shelved because it didn’t fit with the reality of the moment.
The members isolated themselves, occasionally slipping into the gloom of pandemic life, but after spending the summer in Naples, they re-connected with the place they live in and found inspiration again to write new songs. They then established a series of online charity initiatives. The first was created at home, which led to a series of online Gothic Festivals called Gothicats, gathering performers from international darkwave/goth scene.
Ash Code’s new Fear EP includes 3 brand new songs and 3 remixes by Molchat Doma, the Clan Of Xymox, and Los Angeles’ Forever Grey.
The accompanying video, directed by Elio De Filippo, was inspired by lockdown and a tribute to artists such as Armand Sabbatier, Man Ray, and Zbigniew Rybczyński. The chromatic contrast created by DP Jessica Squillante took inspiration from Andy Warhol’s screenprints, where bright and unnatural colors belie a sad, oppressive theme as a natural mental defense mechanism.” The video also features “a layering of images, which creates unique and almost unpredictable effects in their interaction…an overlap of thoughts, memories, desires, and synaesthesia that our mind has been forced to accumulate in a period we never dreamed of living.”
Belarusian Post-Punk Trio Molchat Doma have unveiled another video from their recently released album Monument. With the song “Zvezdy”, the band wear both their hearts and influences on their sleeves, not only by being perhaps the best song on the album, but also being the most Kino influenced track on the record, perhaps even alluding to the track “Звезда” on Victor Tsoi and Co’s is the eighth and final studio release, often titled the “Black Album”, which celebrates its 30th anniversary this month.
With the English translation “Stars”, the video for “Zvezdy” is a poetic short film directed by Mikita Kostochko and filmed in the band’s home town of Minsk, Belarus. In it, we see a man in an orange jumpsuit, painting over graffiti while wistfully gazing at the stars, sun, and moon depicted on artistic murals that suffer the fate of erasure via rolling brush under the city’s gray overcast skies.
Hindsight is 2020, and for many music fans, the eagerness to have this year behind us can’t be overstated. Live music has come to a grinding halt in this bizarre age of quarantine and isolation. As soulful post-punk act Algiers put it, with the title track from their fantastic and prescient third full-length record released in January; “There Is No Year”. And yet, there were many great albums, EPs, and singles issued in 2020, even if the artists behind them were unable to tour in support of these wonderful releases.
It was a tough call to narrow down this year’s best-of list. My own personal top 5 is effectively a tie, with each release bringing its own unique and exceptional mood to music playlists this year whether it be experienced through one of the numerous virtual club nights, or through listening to alone as a cathartic way to pass the endless social distancing hours of this beyond surreal year.
Choir Boy with their second studio album Gathering Swans proves they are one of the most talented bands around today, sounding something like if Jimmy Someville were to front The Cure circa 1983 to 1987, or Scottish post-punk band The Wake, but even that description does not do the band justice, as they conjure a heavenly sound all their own. The album’s three singles “Complainer”, “Toxic Eye”, and “Sweet Candy” are absolute perfection, along with the deeply melancholic ballad “Nites Like This”, a song which was released as a stand-alone single preluding the album to come last year.
Riki, the solo moniker of musical matryoshka Niff Nawor, is the best new artist this year with her brilliant self-titled solo debut. The album, which is a melange of ethereal, synthpop, and Italo Disco permutations, showcases the creative evolution Niff has developed since her vocal debut whilst playing keys and backing Deathrock act Crimson Scarlet’s Chelsey Crowley on their cover of Joy Division’s Interzone back in 2014. Despite the fact that Riki’s lead single “Napoleon” is sure to pack dancefloors when they open post-covid, “Earth Song” is where the record’s songwriting really shines, along with the Prokofievian “Strohman”, and romantic dreamscapes saturating the tracks “Spirit of Love”, “Come Inside”, “Know”, and “Monumental.”
If it were the 80s, Philadelphia’s synthpop duo Korine seem like an act that would either be on the roster of MUTE, or featured on the soundtrack of a John Hughes film. With the album’s singles “Cast”, “Fate”, “Cruel”, and “Cold Heart”, Trey and Morgy create heartfelt synthpop perfection and teenage anthems for the era of synthwave nostalgia.
Belarusian post-punk trio Molchat Doma are in the middle of a meteoric rise in popularity worldwide, spearheading what some have called “Russian Doom”, aka post-punk and coldwave produced from young bands from the CIS (formerly the Soviet Union). The band have recently been signed to the prestigious NYC label Sacred Bones and released their third studio album Monument. The album features three fantastic singles: the dark and hypnotic soundtrack to the somnambulant masses, “Не смешно” (“Not Funny”); the synth-pop driven “Дискотека” (“Discotheque”); and haunting Victor Tsoi/KINO-esque post-punk gem “Ответа нет” (“No Answer”).
NYC’s post-punk stalwarts Bootblacks, after nearly a decade in existence, recently signed to Canadian label Artoffact Records, joining the ranks of Kaelan Mikla, and several other artists on our best-of list this year. The resulting album Thin Skies, produced by Actors’ Jason Corbett is saturated with the warm reverb sounds of the 80s, propelled unrelentingly by some of the most talented musicians in Gotham’s underground music scene.
Choir BoyGathering Swans
KorineThe Night We Raise
Lebanon HanoverSci-Fi Sky
NothingThe Great Dismal
Houses of HeavenSilent Places
SelofanPartners in Hell
House of HarmVicious Pastimes
Death BellsNew Signs of Life
The Glass Beads Therapy
Profligate Too Numb to Know
Martial Canterel Horizon Ltd.
Secret Shame Dissolve b/w Pure
Rose Garden Funeral Party At The Stake
S. Product Suicide Beat
Altar de Fey And May Love Conquer All
In 2020, I was all over the map. I spent much of the year delving into other genres, exploring long-forgotten favorites, and trying to balance a new way of life alongside my usual listening habits. While the pandemic put a halt to live shows, I did spend a lot of time on Twitch, spinning records as well as watching bands streaming live sets, trying to connect anywhere I could. In the end, it was all about familiarity, reaching for those records that feel like worn-in sweaters and losing myself in them all over again. Less nostalgia, more comfort. Let’s just say I listened to a lot of Cranes and Harold Budd.
That said, there was quite a bit of excellent music released this year. Actually, quite an insane amount. I’d like to chalk a lot of it up to the pandemic itself, inspiring bands to record and release, but you know as well as I that most of these records were completed long before COVID became a global concern. In all due fairness, this year would have been one of the strongest in some time by any standards.
As for my personal best-of list, I wanted to give a shoutout to a few excellent releases that don’t quite qualify for the site, but nonetheless deserve mention. If I’m being honest with myself, (and with all of you) my favorite record of the year was Hum’s comeback record, Inlet, which dropped out of nowhere and is just as strong as anything they’ve ever done. Another “off-brand” favorite that deserves a nod here is Fiona Apple’s confessional Fetch the Bolt Cutters, which I spent little time listening to, but every moment was poured over in full. On the ambient spectrum, William Basinski’s Lamentations is as gorgeous as anything he ever released, and the 1-2 punch of Nine Inch Nails’ latest Ghosts installments was an early pandemic treat. I’d also be foolish to neglect Anna Von Hausswolf’s All Thoughts Fly, a stunning neo-classical/ambient work consisting of treated pipe organs. It’s a record I just discovered recently, but have listened to non-stop ever since.
I’d also like to note that it was nearly impossible to rank this list as it stands, especially in the upper echelons… I’ve also included ten standout EPs/singles, as the format was in full effect this year more than any other I can think of in recent memory.
Houses of HeavenSilent Places
Soft KillDead Kids, R.I.P. City
Public MemoryRipped Apparition
Linea AsperaLinea Aspera LP II
NothingThe Great Dismal
Choir BoyGathering Swans
GanserJust Look at That Sky
GwendolineAprès C’est Gobelet!
The Psychedelic FursMade of Rain
Plastic IvySpots of Time
DesertaBlack Aura My Sun
Ssleeping DesiressExile House
Martial CanterelHorizon, Ltd.
Ces CadáveresCuerpos Monstruosos
Blacklist Disorder b/wNo Secret Islands
Ghost Cop End Credits
S. ProductSuicide Beat
Just MustardPart Time Punks Session
Rosegarden Funeral PartyAt the Stake
AndiCorpse to Corpus
Secret ShameDissolve b/wPure
When approaching the year-end list, my initial reaction was Wait? Did I even listen to new music? because I was certain the pandemic had driven me further down the road to nostalgia. I found myself reaching for music that was safe, the kind that I knew was predictable but satisfying. But when it came time to create this list, the realization came that there were many amazing albums—and especially EPs—throughout this long, drawn-out year that had provided a reprieve from the misery and despair of the pandemic.
The most surprising of all was the first Cabaret Voltaire album in 26 years, Shadow of Fear, made by Richard H. Kirk, without his bandmate (and vocalist) Stephen Mallinder. After groans and negativity from others about this decision to continue on under the moniker of CV, I was prepared to hate it. However, it was a charming, nearly uplifting, mix of the traditional CV sound that so many artists these days attempt to replicate and fail in doing so. Shadow of Fear is fresh, and it’s the best release of 2020. Other “old school” artists found their way onto my list as well, including the super experimental Einstürzende NeubautenAlles In Allem and Dive‘s last-minute contender, Where Do We Go From Here?—both of which retain moments of their past brilliance but also manage not to sound redundant. But perhaps that’s why I love them: they’re familiar.
It seemed that 2020 was about cross-pollinating genres, blurring the traditional outlines of goth, EBM, post-punk, or darkwave. There’s no better example than my two favorite EPs of the year: Dead Husband and Ces Cadáveres. Dead Husband’s Iguana has been a non-stop listen since it’s release pre-quarantine, which feels like more than a year ago at this point. Iguana easily crosses lines between dreamy Italo-disco and darkwave while Ces Cadáveres’ Cuerpos Monstruosos presented smart and angular synthpunk EBM with a melody (Visitor‘s LP, Technofossil does this incredibly well, too). The EP format leaves no room for mediocrity—and my top picks for the category understood that well. After such a tumultuous year, to look back on the music it generated since many artists completed their albums during quarantine, and what it will initiate for 2021 is exciting. I’m here for it.
Cabaret VoltaireShadow of Fear
Korine The Night We Raise
Einstürzende Neubauten Alles In Allem
DiveWhere Do We Go From Here?
Linea Aspera LP II
Selofan Partners in Hell
Стереополина (Stereopolina)Институт культуры и отдыха (Institute of Culture and Rest)
“I grew up in a small town near the Northern capital of Russia. The atmosphere, actually, was gloomy. The power in the city was held in the hands of bandit formations. The city was divided into eight neighborhoods, leading to a constant confrontation. It was not easy to be creative and individual,” says Igor Starshinov, the synth player of the band Ploho from Novosibirsk, Siberia (who just released a new single). As children of the 1990s, the members of Ploho found their youth to be “a rather dark and cold time in Russia. The time of the crime and total chaos,” as lead singer Victor Uzhakov would explain.
Cold and dark: an accurate representation of how most of the Western world would describe Russia’s pre- and post-communist cities. While bassist Andrey Smorgonsky concurs that there was little sunshine—”Gray is the main color of my memories… almost everything was gray”—it was not always negative. “This may have influenced my love of music like punk,” he says. The political climate had an impact on the band members’ interest in certain types of rebellious music such as punk and post-punk. “[This time] affected my further creativity in the most direct way. Creativity is the most accurate cross-section of the time in which the artist lives. By the creativity of a person, as by the rings of a tree trunk, you can track how and where they lived, what happened around them, and so on,” says Uzhakov.
It seems the post-punk band that held the most prominence in their youth was Leningrad-based Кино (Kino). “The first post-punk in Russia is transmitted with mother’s milk: Kino group,” says Uzkahov. “It is impossible not to hear this band in our country. Everyone who can play two to three chords on the guitar plays exactly Kino.” The widespread popularity of the band was a starting point into the post-punk genre, though they didn’t always realize it was post-punk.
“After listening to this group, it blew my mind and I started digging information about this genre. I started learning about the classics: Joy Division, The Cure, Bauhaus, Sisters of Mercy, Siouxsie and the Banshees,” says Roman Komogortsev of the Belarusian band, Molchat Doma (whose new album, Monument, is out now). Even though Kino was present in everyone’s life, “we didn’t learn that it was post-punk until much later. The first song I heard in this genre was ‘Lovesong’ by The Cure,” he continues. “But then I didn’t know what post-punk was, because I was twelve years old. The passion for post-punk itself began much later than adolescence. I started listening to it about five years ago, but I definitely realized that this is my music.”
The solemn atmospheres of post-punk music fit well into the Russian mindset from the start. “The appeal of this genre, I think, is that it more closely reflected our reality in [the 1980s] and already, it seems, in the present too,” says Starshinov. Before the Dissolution of the Soviet Union, which ended in 1991, many fans of music—not limited to post-punk—had to smuggle in records and tapes to the country. The smugglers “imported it because there was a demand. And the fact that this music is banned, increased interest twice,” explains Smorgonsky. “It was also a very important source of inspiration for Soviet rock musicians.”
This type of heaviness is not something many Westerners can relate to within the post-punk genre: the restrictions against subcultural scenes and underground movements were an act of retaliation. Ploho chooses to fulfil the legacy of Russian post-punk bands and before them. “We are often reproached for exploiting the sound of domestic 80s bands,” says Uzhakov. “I don’t think it’s exploitation, it’s just a golden thread that runs through history and connects modern post-punk with the music of that time. This was a unique era for Russian music and I would not like to forget about it.”
New post-punk bands aren’t afraid to pay homage to their genre’s beginnings—the nostalgia runs deep. “The generation of the 80s left a huge mark on history, it brought synthesizers to guitar music, it is difficult now to imagine music as a whole without a synthesizer. The 80s is the time of melodies that are eaten into heads forever, these are vivid images, the time of experimental music. It is difficult to imagine today’s music if that time did not exist,” says Komogortsev. And while the focus was on Western music in the underground scenes, it seems to have come back around to the sound many Russian artists cultivated decades ago. “It was believed that you need to take everything Western, but now everything is absolutely the opposite,” says Smorgonsky.
Komogortsev also notes that post-punk and synth-pop music has been prominent in Russia since the Soviet Union—the dark wave of bands from the CIS (Commonwealth of Independent States) is not really a wave at all. It’s always been there. Starshinov explains: “Now the spotlight is directed towards our country and a new horizon of a number of groups has opened up for many. But post-punk, as a genre, is far from dominating in our country.”
And to Ploho, that’s a positive thing. “Perhaps this impression is created because of the image of Russia and Russians in the eyes of foreigners. Russians definitely love minor music and black, but they live far from just that. There is a lot more fun and cute music in Russia now,” Smorgonsky adds. It seems that despite their love from the Western world—with Youtube views and concert ticket sales— melancholy post-punk music remains underground, as it always has been. The way it should be. “In general,” says Uzkahov, “dark music in Russia is not particularly popular at the moment. She has listeners and media attention, but she doesn’t dominate and that’s great. Otherwise, it would be a very sad country.”
Below are some favorite CIS music picks from the Post-Punk editors, Ploho and Molchat Doma:
Биоконструктор (Biokonstruktor) – Moscow, Russia
This dark wave band from 1986 were inspired by the likes of Kraftwerk, Depeche Mode, and Ultravox. With melodic, sad hooks and cold machines, what’s not to love?
Supernova 1006 – St. Petersburg, Russia
Since their first album, Talons, in 2016, the duo of Supernova 1006 has consistently put out solid post-punk tracks that are quite danceable.
blind seagull – Kaliningrad, Russia
Perfectly gothy in all the right ways, blind seagull is a dark delight.
Технология (Tehnologia) – Moscow, Russia
Founded in 1990, Технология’s “Странные танцы” sounds like all the saddest of Duran Duran songs in one.
Stepan i Meduza – Kiev, Ukraine
The duo of Stepan i Meduza, who began in 2010, are absolutely wonderful: danceable dark synth songs with great aesthetics. We need more!
Human Tetris – Moscow, Russia
With their classic post-punk sound, Human Tetris have become an important part of Russia’s scene.
Дурное Влияние (Durnoye Vliyaniye) – St. Petersburg, Russia
With their haunting music, Дурное Влияние captured the sad hearts of post-punk fans during their stint as a band from 1987 to 1991.
культодиночества (Kultodinochestva) – Moscow, Russia
The three-piece band established just last year released their first LP in June 2020. It’s a powerful album that is easy to listen to all the way through.
Младшие братья (Prepinaki) – St. Petersburg, Russia
The long-running band that began in 1989 is very much sad man post-punk music with jangly guitars and mournful vocals – so, of course, we love it.
Последнее сопротивление (Posledneye Soprotivleniye) – Tallinn, Estonia
This fairly new band from Estonia is the perfect balance of sunshine and grey – we can’t wait to hear more from the trio.
Super Besse – Minsk, Belarus
There’s something exciting about Super Besse with their atmospheric synths and danceable rhythms. Since 2015 the trio has put out three LPs, including one from this year titled Un Rêve.
Тюрьма (Tyur’ma) – Moscow, Russia
The new band from Moscow released their first LP, Тюрьма, in August of this year. The smooth vocals blend so well with the strong guitars and sad melodies throughout the album.
Гражданская Оборона (Grazhdanskaya Oborona) – Omsk, Sibera
The singer of Гражданская Оборона, Yegor Letov, branded the band with the slogan “I will always be against” in response to communism. Completely political with elements of punk and even a tinge of Rozz Williams’ intensity, the band – which began in 1989 – is well worth a listen.
ДК Посторонних (DK Postoronnih) – St. Petersburg, Russia
The coldwave / post-punk band, ДК Посторонних, found their way onto the Detriti Records label in 2017 with their self-titled LP and have been a go-to for fast bpm, danceable tracks that are spooky as hell.
фанни каплан (Fanny Kaplan) – Moscow, Russia
The experimental, no-wave inspired band, Fanny Kaplan, formed in 2012 and put out a completely unique blend of post-punk that is unlike anything else.
The Glass Beads – Kyiv, Ukraine
Ukrainian Coldwave Duo The Glass Beads have just released their debut album on Fabrika Records, and have a complex and distinct sound conjure from another time.
Штадт (Stadt) – St. Petersburg, Russia
Штадт is gaining popularity by word of mouth as a unique sounding dark synth meets EBM project whose music defies genres.
Наслаждаться жизнью (Venkov’s Playlist) – St. Petersburg, Russia
Russian post-punk band Venkov’s Playlist writes a gloomy, moody soundtrack for deepest melancholia: that kind of unshakeable zone-out of depression just before a slip into the void.
Gil’otina – Kyiv, Ukraine
Ukrainian post-punk and darkwave act Gil’otina is a project by Kyievian musician Ivan Kotsiubynsky that made its debut with 2017’s Taiga LP. A culmination of a year’s worth of effort, Ivan’s latest album Orgán is a massive and affecting record that cuts to the very marrow.
In August of 2021, Gil’otina is set to perform at Pop-Kultur Berlin and is invited to play at Kalabalik Pa Tyrolen for the second time.
Буерак (Buerak) – Novosibirsk, Russia
Буерак is a popular post-punk band considered to be part of the “New Russian Wave. Founded in 2014 by Artyom Cherepanov and Alexandr Makeyev, the band creates melodies whose rhythms are well crafted and infectious.
Brandenberg – Moscow, Russia
Brandenberg are a popular Russian post-punk band, whose sound ranges somewhere between early Cure, and Scottish band The Wake. The band are scheduled to play Wave-Gotik-Treffen in 2021.
УТРО (Utro) – Rostov-On-Don. Russia
Vladislav Parshin formed the more experimental УТРО, to compose melodies and instrumentation with a more minimalist approach towards the music in this Russian language project. With an otherworldly sound, УТРО weaves a more mystical and darker atmosphere in contrast to the more idyllic songs found in the works of his more popular and well-known band Motoroma.