Origine du Groupe : Russia
Style : Alternative Rock , Rock Indie , Fusion , Electro Rock , Power Pop , Psychedelic
Sortie : 2011
Celebrating the benefits of bad behavior, several of these ditties have been promoted in a related spirit as "songs of protest for children. Good-natured, upbeat compositions - but without anything infantile." When played live, many of these numbers are designed specifically to get those mischievous kids involved in the show, often by calling out or performing some action together.
Why the immediate advocacy of noisy rebellion? One would think that children need little encouragement to act up. The specific involvement of rock music here - as the soundtrack to subversion - seems to be locally relevant, for the following reasons.
If we start with the new album from Samara's Bajinda Behind the Enemy Lines, a few clues begin to emerge. The band's new recording - available this week - is actually called "Late." Something's evidently not happening on schedule: and indeed, the album has appeared just after the band's virtual collapse. The songs may exist but the ensemble - in its traditional lineup - does not. They've recently lost a lead singer and are therefore regrouping at a time when promotional obligations would be better served by happy cohesion. And for that reason the album is "late."
The outfit began with big, bold intentions. Bajinda - from start to finish - always seemed to invite parallels with Happy Mondays and The Stone Roses, though interviews led to more frequent nods in the direction of Placebo, New Order, U.N.K.L.E., and The Streets. The resulting live shows, as we see, were famously grand and optimistic - drawing once again upon that Madchester heritage.
In a word, Bajinda were (remain?) an outfit both inspired by UK music and potentially of interest to the same shores. As we mentioned before, that love affair with British songwriting traditions even prompted a northern accent in the vocals of now-absent frontman Pavel Teterin. As the remaining members are currently pondering their future, pronunciation becomes another part of the decision-making process.
Demo-versions of these songs have been in existence for a while (in some cases for two years); the album, therefore, did not evolve quickly. Both its development and publication reflected a counterproductive work-rate. With gallows humor, the remaining musicians now say they've learned one good lesson from this entire process: "How not to make an album."
01 – Late
02 – Kermit’s Walk
03 – Crime
04 – Fire Come Out
05 – 98
06 – A Kind Of The End
07 – Loud Man
08 – Money To Burn
09 – Mineral Girl
10 – Up In The Sky