NICE GUYS FINISH LATE: Russian rock band KREMATORI live.

 

Moscow Dad rocker’s can still lead the dance.

Photography by Iain Rodgers.

You insidious sister of Pluto/Open mouth, icon eyes/Your ears are bliss/I know where to buy noodles for them/To touch your heart….Hey, beauty, who will pay for all this?/Life is short and can’t be stretched/ for the deaf there’s no forgiveness/Love is just a supermarket` (Translated from `Supermarket` by Krematori.)

I cannot claim to be a huge fan of Krematori but I do own one of their albums – Lyudi Nevidimski (`Invisible People`). This, within its Rocky Horror Show packaging, features a few pleasant old school rock-and-roll type numbers which put me in mind of a Craft beer bar live event, so much so that I can almost smell the whiff of yeast and wood shavings in the tracks.

Which is all very lovely, but in Russia this band signify much more than just a competent jive act.

Vladimir Kulikov

Venerable.

Krematori’s manifestation in their home turf of Moscow only warranted a brief mention on a flyer on the window of the Mumy Troll music bar – but their many devotees would have known all about it well in advance.

Headed by Armen Grigoryan, 59, of Armenian descent, this doughty cult band has seen thirty-six years of business. Throughout the trials and tribulations of the Andropov, Gorbachev and Yeltsin eras this five piece has been a good-tempered eye of the storm. They have knocked out some fifteen studio albums each with a trademark philosophical take on life. In a way they remind me of the British band Hawkwind, even though their sound is more redolent of someone like Lindisfarne.

So I felt that I would be failing this blog not to skip over to the venue, just a stone’s throw from Red Square, on the 9th March.

Nikolai Korshunikov

Mixed crowd.

The three hundred or so punters that filed into that basement bar were the types to have proper jobs, perhaps with babysitters looking after their first borns at home. Their sap was rising with the false promise of spring in the air of this holiday weekend. The faithful gathered at the stage to await the arrival while others sat down to chomp on lobster while the wouldn’t-say-no waitresses scraped the foam off the tops of their beer glasses.

Hearing us speak English, an earnest schoolmistressy type accosted us at the bar. We were in for a treat, she informed us. She herself lived in Holland now, but made a point of catching this band live whenever she returned to Moscow. She had with her a potted tulip to deliver to the stars. However she advised us that the complex Russian lyrics formed the main point of it all.

Barn dance.

At quarter to nine the band at last showed their faces. A mock self-glorifying video backdrop announced each member as they came onto the stage.

Fiddling about: Maxim Guselshikov

Grigoryan hides behind raybans and a wide-brimmed hat, which does give him a certain presence whereas Nikolai Korshunov, the extroverted bassist is an identikit metal band member with his goatee beard, bald head and chunky build.Vladimir Kulikov, the lead guitarist, looks like a man who would buy you another pint if you spilled it.

Their sound – folk and blues tinged rock and roll, but enlivened with unexpected mid-sections, chugged along in an upbeat fashion.

Krematori’s principal innovation – and U.S.P – is the violin work of Maxim Guselchikov which lends a seductive hoe down feel to the proceedings.

They waded through an array of themes around consumerism, spirituality, men and women, and aliens. One of their songs was called `Bezoomni Mooshina` (`Mad Man`) and another `Hare Krishna` but the one that I recognised – as well as could most relate to – was `Supermarket` – some of the lyrics of which I have attempted to render in English above (with much help from my Russian teacher).

Drums: Andrei Ermolla

So we gulped down our pricey German ales and the band played on and the men, as if some primal instinct had been unearthed, did the twist with their ladies, and the band played on, and we began to look at our watches as it neared eleven and the band played on….

A cheeky townie girl, en route to a night club, peered in from a window looking out on the street above us. With satirical intent she began to twitch to the country rhythm but then she danced on and on like a mannequin whose strings were being jerked, and the band played on….

Katmandu by Krematori

Their Official site (Russian).

 

 

LOUNA: Live at the Adrenaline Stadium, Moscow 17th November.

A state-of-the-art stadium metal act…fronted by an Armenian woman with oppositional views.

 

The Adrenaline Club, in the Northwest of Moscow, whilst not quite Earls Court Arena, drew a queue outside it which must have numbered well into the thousands, making this the biggest gig I have yet been to. Shivering in the first snow of the year we all looked – a few painted face fanatics aside – a bit the same, donned as we were in the same post-rock uniforms that almost everyone goes about in these days: black jeans, hoodies, desert boots, khaki and so on.

As we reached the massed ranks of door security awaiting us at the entrance to the stadium, they advised my Glaswegian colleague-cum-press-photographer that, as he had no press pass, he would have to leave his top of the range camera in their safe hands. At this my helpmate spat on the floor and rejoined the mid-November frost.

Having lost my hope of any decent visuals (sorry about that!) and a rare chance to bond with a fellow expat, I tried not to let this setback put a pall on the whole entertainment and consoled myself with a few overpriced Budweisers in the voluminous darkened auditorium.

 

 

Here’s what they REALLY look like!
[spb.gdechego.ru]
Nothing here but us.

At around quarter to Nine some members of the audience invaded the stage, or rather Louna appeared, for it seemed like the same thing. Tonight, showcasing their new offering `Polyoosa` (Poles) with the sponsorship of the sterling Russian rock outlet Nashe Radio, they were on their home turf and their sense of comfort seemed palpable.

Louna came about ten years back, whereas Lousine Gervorkyan, a 35 year old Kapan born Armenian who studied music and teaches singing, has been a vocalist for over twenty years. In a previous life she headed Traktor Bowling (and sometimes still does) before her bassist Vitaly Demidenko and her made a bid for a new band with a bolder sociopolitical thrust. With this aim they head hunted two guitarists – Ruben Kazariyan and Segei Ponkratiev and the rhythm wizard Leonid Kinzbursky. Enter Louna.

This outspoken band have been prepared to put their money where their mouth is too, having been involved in fundraising for Pussy Riot (a fact which may have explained why they came to be pulled from an MTV documentary called `Rebel Rock` following pressure from unknown Russian sources).

Set piece.

Gervorkyan, with her dark angular looks, trademark long hair shaven at the sides and jeans torn at the knees, is more of a tomboy skater icon than a sex siren and the many women in the crowd were the most excited to see her. (Her stage presence was lost on me a bit, stuck as I was behind a forest of raised mobiles and having to watch the TV screen to get a proper view).

Throughout their industrious two-hour long set the band must have taken us through every hard rock trend of the past thirty years – a bit of ska punk here, a bit of thrash there, then a bit of pomp rock…and so on. This was all mixed with care and not so ear-splitting that you were unable to appreciate, for example, the well coordinated interplay of the two lead guitarists. Louna constitute a song based act, however, and the vocals were placed at the forefront. For a comparison the most obvious choice would be Sandra Nasic and the Guano Apes (minus the inventive range of that singer and band) but Gervorkyan’s more baleful and operatic moments, however, put this old New Waver in mind of Hazel O’ Connor at times.

Louna are accomplished chant-along merchants and Russians in particular are always all to eager to oblige when it comes to joining in with the performance. I am not sure how that many of them shared the finer points of the band’s philosophy, however, even if they had memorised the lyrics well. The message of the medium – from the confetti and smoke being disgorged into the air, the lit mobiles and paper hearts held aloft for the slower numbers, to the tomfoolery with a huge balloon, and the onstage man on rollers filming it all this – might have been a set by the rather more conservative dad rockers Aria.

Reality check.

There remains one performance, however, that will stay with me after I have forgotten all that standardised pageantry. They did not treat us to their classic single `Divny Novi Mir` (`Brave New World`) – although I did recognise some numbers from the same titled album from which it comes. What they did do though was to play a tribute to another dystopian classic: 1984. With the rally like format of the show, and the way in which the chorus read out the numbers in the year as a list as they flashed on the display behind the band (`Adin! Devyat! Voysem! Chetyre!`) created a very poignant and eerie impact.

So while the downsides of impersonal stadium gigs hardly require to be itemised (I caught Traktor Bowling in the smaller Red Club a few years ago and could relate to it all a lot more) there were times when the medium and the message worked as one. `Adin! Devyat! Voysem! Chetyre!`….shudder.

 

1984 by Louna