"It seems only I remember them." Belarusians shared their love for hundreds of half-forgotten domestic bands

The discussion began on the social network Threads after a post that suggested naming Belarusian bands remembered by only a narrow circle of people. In the comments, which numbered almost a thousand, Belarusians shared band names, quoted song lyrics, recalled biographies of performers, and searched for where to listen to once-loved tracks today.

The Minsk band "Rahis" was mentioned as the first example of forgotten underground. This collective was founded in 2000 by students of the Belarusian State Pedagogical University, Dzianis Filipenka and Zmitry Yazvinski. Initially, they worked in an acoustic format, and in 2007, they switched to an electric rock sound. Among their main releases are the albums "Sšytak z tekstami ŭ malyunkakh" (Notebook with lyrics in pictures) (2010) and "Pamizh sontsam i khmarami" (Between the sun and the clouds) (2015), which solidified their status as representatives of intellectual guitar rock.

Someone mentioned the pop-rock band "HandmadE". It turned out that today it's not so easy to listen to their work — favorite compositions are simply not available on Spotify.

The band "HandmadE" was formed in Minsk in 2009 as a result of the collaboration between journalist Yauhen Valoshin and guitarist Andrey Markuts. Poet Hleb Labadzenka created the lyrics for the collective. The band stood out for combining rock, blues, and urban reggae. In 2013, they recorded a joint track "Bieh pa kanatakh" (Running on ropes) with world champion in Thai boxing Vitaly Gurkov, after which the collective gradually disappeared from radars.

Disputes about celebrities and concert passions

The Minsk synth-pop project "Merry Poppins" was also discussed. Its vocalists Alesia, Maryna, and Liusia Berulava are sisters, and Alesia Berulava is Siarhei Mikhalok's second wife.

The band was formed in 2004 after the closure of their previous rock project "Montana" and the sisters' return from Tokyo, where they adopted the aesthetics of Japanese Harajuku street fashion. After releasing hits "Menya zovut lyubov" (My name is love), "Kartinki" (Pictures), and "Butterfly", the collective ceased activity after 2008. The members moved to the Russian capital and changed their field of activity, obtaining education as psychologists and gestalt therapists.

Several people immediately named the Minsk acoustic indie band "Detsy Dzyatsy" (Children of Children) among their favorites, calling their work "pure love." Some even knew the lyrics by heart and quoted lines from the band's compositions.

The project "Detsy Dzyatsy" was founded in 2005 by actors of the Yanka Kupala National Academic Theater. Hanna Khitryk was the vocalist and face of the collective, complemented by Dzmitry Yesienyevich and Mikhail Zuy. The musicians combined theatrical presentation with instrumental diversity, using cello, accordion, and flute.

After recording three studio albums, including the Belarusian-language release "Rukh" (Movement) (which was later recognized by Experty.by critics as the best album of 2010), the band abruptly ceased activity in the summer of 2010. The musicians split into independent projects S°unduk and ili-ili. Today, Hanna Khitryk lives with her family in Israel.

Indie music and booed grunge

The compilation of retrospective lists provoked real aesthetic disputes in the comments. Bands "Kali Yuga", "Lyubov i sport" (Love and Sport), "Virus Likha" (Virus of Evil), and "Bosaje Sontsa" (Barefoot Sun), which one user named among his favorites, another flatly described as "crap from the early 2000s." The only exception for the critic was the collective "Kali Yuga" — because, in his opinion, frontman "Yura was wonderful in everything." The author of the list disagreed, parrying that "Kali Yuga" was precisely the one he liked the least from the entire list.

The Minsk electro-acoustic project "Kali Yuga" was founded in 1992. The creative core of the collective consisted of vocalist and lyricist Yury Harachka, and guitarist Andrey Dzemianćyeŭ. The band's style was distinguished by the use of violin and a meditative, intellectual sound. Among their main releases are the albums "Runy" (Runes) (1999) and "Kali Yuga" (2000).

The commenter called the indie band "Bosaje Sontsa" (Barefoot Sun) the most interesting on his list — a project by Ales Kat-Zaytsau, created in 2005. The band performed melodic Belarusian-language pop-rock. Their album "Adpuśtsi" (Let Go) (2013) was noted by music critics, and the composition "Psikhiyetrychnaya" (Psychiatric), based on a poem by Anatol Sys, gained particular fame.

Another commenter, however, preferred the collective "Virus Likha" (Virus of Evil), founded in Minsk in 1999. The musicians started with hardcore, but after a concert by the Russian band Jah Division, they changed their format to reggae and ska. In 2003, they released their iconic live album "Sovershenno Letniy Kontsert" (Completely Summer Concert).

Unpleasant situations with fans of various bands were also recalled. For instance, one commenter witnessed an incident in November 2012 at the Minsk club Re:Public, where, during the warm-up act for the Mogilev collective "Akute," who were holding a big solo concert, the audience began to boo and "bully" the musicians of the capital's grunge band "AVIAS." According to him, the youth audience was waiting for their idols' performance and did not perceive the unfamiliar sound well.

The band "AVIAS" later released a successful debut album "Koliery" (Colors) (2014). Along with them, users nostalgically recalled other veterans of the domestic grunge movement — the Vitebsk band "Užie" (Already). Listeners also included the Minsk grunge bands "Lucky Mistake" and "Karavan" in this cohort, which were featured in the official historical compilation "Grunge:by." The Mogilev collective "Akute," in turn, was founded in 2008 by former members of the punk band "Hlyuki" (Glitches) Stas Mytnik and Raman Zhyharau and became one of the most sought-after Belarusian indie projects of the 2010s.

Regional gems and unforgettable "excremism"

In each region or city, completely different musical projects held cult status. For example, according to one commenter, the band "Avangardshkola" (Avant-garde School) is still remembered by all of Mogilev today. Another user added that the band was well-known in Slutsk too — on par with Mogilev legends "Hlyuki" (Glitches) and "Bedlam 444".

The reason for such a dual geography is that "Avangardshkola" was initially founded in Slutsk in 1994. However, after frontman Kiryl Smyshlyayeu moved to study in Mogilev, the project was reborn and became one of the main representatives of the Mogilev rock scene. The band performed alternative rock and pop-punk, and in 2012, it became one of the first regional bands in Belarus to release its own music DVD called "Vidima" (Visible).

The Mogilev band "Hlyuki" (Glitches), mentioned for the second time, was formed in 1998 and performed melodic punk-rock with satirical lyrics. As noted above, after the collective disbanded in 2009, its founders created the project "Akute." However, "Hlyuki" themselves left at their peak: their second album "Idyjatyzm" (Idiotism) was recognized by music critics of Experty.by as the best Belarusian-language release of 2009.

Novopolotsk had its own cult band "Flyaus i Klyayn". Users in the comments were even surprised that anyone knew about it outside the Polotsk region. The project, founded by Siarhei Valodchanka and Aliaksandr Kachanaŭ, stood out for mixing Britpop and indie-rock with outrageous performances. The band once won the "Basowiszcza-2007" festival and became "Breakthrough of the Year" at the "Rock-Coronation" award.

Novopolotsk is also associated with memories of another craziness — the performance at the "Rock-Kola 99" festival by the Bielaaziorsk band "Bardak House" with their famous track "Syr" (Cheese). As one commenter noted, he will never forget this outrageous and scandalous number.

The band "Bardak-House" was formed in 1994 in Bielaaziorsk, Brest region. Frontman Illia "Douhi" Trutko and his colleagues created their own philosophical concept called "excremism." The collective was distinguished by extremely provocative and chaotic concerts, which rarely managed to be played to the end. In 2000, they released their main album "Ulybaysya" (Smile) with sharply social and gloomy lyrics.

A separate regional phenomenon noted in the comments was the rock band "Tor Band" from Rahachow, which gained widespread fame thanks to its protest singles in 2020.

The Gomel scene was represented by two opposing phenomena. On the one hand, Belarusians recalled the band "Malo Mesta" (Little Space), whose recordings in the 2000s were copied onto cassettes from acquaintances. The project was active in the early 2000s, performing acoustic rock with elements of reggae. The band used trombone, double bass, and violin, and leader Tsimafei Yazhou was called one of the strongest domestic lyricists by music critics.

On the other hand, one commenter was outraged that the Gomel band Gods Tower was almost forgotten. The collective was founded in 1989 by vocalist Uladzislau Navazhylau (Leslie Knife) and guitarist Aliaksandr Urakau. The band pioneered the unique Solar Metal style, combining doom metal with pagan motifs and an original imitation of bagpipe sound on guitar. The project achieved international recognition in Europe but ceased activity in 2002 and lost Aliaksandr Urakau in 2003. In 2010, the collective resumed concert and studio activity.

Extreme scene and intellectual avant-garde

Perhaps the most representatives of heavy music and experimental projects from the 2000s were in the lists. The Mogilev nu-metal project "Tav. Mauzer" (later shortened to "Mauzer") was called a "stunning" band. The collective was founded in 2002, and in 2005 won the Grand Prix at the "Basowiszcza" festival. The band stood out for combining heavy guitar sound, rapcore, and sharply social Belarusian-language lyrics by frontman Yan Mauzer, which were reflected in the albums "Radaść" (Joy) and "Porna". In 2010, the band ceased to exist.

Along with them, listeners recalled other prominent representatives of the intellectual avant-garde. Projects by Minsk avant-gardist Siarhei Pukst — "Pukstband" and "True Litwin Beat" — whose work some commentators seriously called a true "base," made it onto the list. The musical collective "Pukstband" became the main triumpher of domestic music awards in 2013 with its release "Posledniy albom" (The Last Album). Later, Pukst, together with guitarist Yauhen Bialou, created the experimental and provocative hip-hop duo "True Litwin Beat," remembered for its sharp socio-philosophical lyrics.

The globally renowned duo "Gurzuf" — accordionist Yahor Zabelau and drummer Arciom Zaleski, who combined an academic instrument with frantic progressive rock and minimalism — was also called unusual instrumental avant-garde in the comments.

The Minsk metal band "Vicious Crusade" was remembered by Belarusians for its vocalist with a powerful operatic voice, similar to Tarja Turunen from the Finnish band Nightwish. Alena Hornykh left the most vivid mark in this role, recording their best releases with the band. Although Natallia Stsjapanava and Tatsiana Labada also collaborated with the band at various times.

The band "Vicious Crusade" was formed in 1996 by four students of the Minsk State Linguistic University. The band gained recognition for boldly combining brutal thrash metal, male growling, female soprano, and violin parts. The album "The Unbroken" from 1999 is considered truly cult in their discography.

Some were surprised that the band "TonqiXod" was mentioned in the list of forgotten projects, as it turned out, some commentators considered the musicians active today. However, other users clarified: the collective officially ceased to exist in 2018, and its last release saw the light in 2017. The trio "TonqiXod" was created in Minsk in 2011 and performed original art-rock without using a bass guitar. Their farewell album "Koliar, yakoha niama" (The Color That Isn't There) became a true triumph in the Belarusian music scene, receiving the main award "Album of the Year" according to the Experty.by portal.

Among the intellectual avant-garde, commentators also highlighted Siarhei Skrypnichenka's project "Žygimont Vaza". This Minsk band strictly adhered to the style of alternative hard rock. Because the musicians released serious studio albums for many years but rarely appeared on stage, they earned the lasting nickname "virtual band" in the rock environment.

Sun, bagpipes and theater: reggae and folk revival

Oddly enough, in one list of "half-forgotten" bands, true scene mastodons appeared alongside deep underground acts. Thus, among indie, pop-rock, and alternative music, listeners recalled both completely underground projects and the main legends of domestic rock. This list included rock philosophers "Ulis", melodic pagan metalheads "Znich", energetic "zdarovyja łosi" (healthy moose) "IQ48", and the authors of the main pop-rock hits of the 2000s "Bez Bileta" (Without a Ticket).

Along with them, users unexpectedly classified the popular pop-rock band "J:Mors", Brest rock lyricists from the band "Sadz", and the Bierozawski alternative rock band "B:N:" (Biaz nazvy, Without a Name) as "half-forgotten".

Religious and philosophical rock was represented by the Christian band "Novyi Yerusalim" (New Jerusalem) (winners of "Song of the Year" at "Rock-Coronation-1997") and their Baranovichy scene comrades — the band "Deyaniya" (Acts). The patriarchs of Minsk punk-rock "Neuro Dubel" led by Aliaksandr Kulinkovich, the originators of Belarusian blues-rock band "Krama", representatives of revolutionary rock of the 1990s "Krasnye Zvezdy" (Red Stars), and Uladzimir Arakhouski's project "Severnoe Siyaniye" (Northern Lights) remained in people's memory. And listeners named the band "Mroya" (Dream), on the basis of which N.R.M. later formed, as the main historical source of the entire scene.

In the same context, representatives of the Belarusian reggae, ska, and cabaret scene were noted, where listeners nostalgically recalled the pioneers of roots-reggae "Botanic Project" and the collective "Addis Abeba," which was considered one of the main reggae bands in the post-Soviet space. This community of musicians was supplemented by the ethno-surrealist project "Nahual" (winners of "Rock-Coronation" for best positive music) and the famous cabaret band "Serebryanaya svadba" (Silver Wedding), which forever remained in history thanks to its most important album "Laterna Magica."

The folklore and medieval direction in the comments was represented by both pioneers of the revival and experimenters of the new wave. Listeners mentioned the pioneers of this movement from the 1980s — the band "Litviny" (Lithuanians), Gomel folk-rockers "Ban-Zvirba," and Minsk leaders of heavy folk-metal band "Unia."

Along with them, users noted collectives that brought ancient instruments back into music: medieval folkers "Testamentum Terrae," the male folk group of traditional singing "Stazhary," and the Mogilev folk group "Chabor." This also included Irish pub-rock performers "Irish7," the Brest ethno-project "Astrouna," and the medieval folktronics project "Pawa," which mixed bagpipe sounds with electronic beats. Theatrical and author's rock in this series was represented by the joint lyceum student project "Partyzanskaya shkola" (Partisan School), the band "Indiga," and the musical-theatrical project "Alesei Shadzko i Siastra" (Alesei Shadzko and Sister).

A significant contribution to this direction was made by the patriarchs of domestic medieval revival, the band "Stary Olsa," and the Minsk ethno-project "Dzhambibum." Along with them, listeners highlighted the authors of sunny urban folk modern "Recha" and the collective "Orkestr Fishera" (Fisher's Orchestra) with their fiery Irish motifs.

Outrage, anarchy and Hrodna hardcore

Punk-rock and hardcore collectives were specifically highlighted in the comments. Among them, the Hrodna anarcho-punk wave attracted particular attention: style icons "Deviation" of the Pachobut brothers, "Basowiszcza-1998" winners the band "Kalyan" (whose musicians later formed the famous collective "Dzieciuki"), freak-punk from "V3anus," dirty hardcore-punk fighters "Pet Nihil," and the band "Contra la contra."

Listeners supplemented this list with projects "Chevenhur", "Golaya Manashka" (Naked Nun), the bands "S O K", Navapolatsk's "Razhrom" (Rout), and the famous Orsha band "Pani Khida" (Lady Khida), which won two statuettes at "Rock-Coronation" in the late 1990s for best song and music video.

Alongside metalheads, listeners named other notable musicians from the punk-hardcore and crust scene of the 2000s. This underground list included Hrodna crust-punks "Bagna" (Swamp) and "Monday Suicide," Minsk hardcore bands "Fuck It All" and "Devil Shoots Devil," Brest alternative rockers "ONEGIN," the Hrodna punk band "Stierva" (Bitch), as well as the capital's hardcore project "Monitor Lizard" and the legendary Minsk art-punk collective "Y.Y.Y." by Vasili Shuhalei.

Heavy vector: from pagan black to cyber-metalcore

Fans of heavy music recalled metal bands of various directions. Among them, Vitebsk pagan black-metalists "Apraxia", leaders of the capital's thrash metal "Deadmarsh", and Mogilev death metal flagships "Asguard", who released on an American label, were singled out. The atmospheric and extreme part of the dark scene was represented by post-black collective "Dymna Lotva", Minsk residents "Imprudence", representatives of the capital's gothic scene of the 2000s "Kadaver" (Terra Cadaveris), doom-gothic project "Diathra", as well as gloomy underground metal bands "Insumsinmagma", "Aeon Noctis", "Dies Nefastus" and "Homoferus".

The most famous in the list was the Gomel collective "TT-34," whose track "Jack" gained nationwide popularity after it appeared on the soundtrack of the blockbuster film "Night Watch." Listeners also named Aliaksandr Litvinski's famous radio show "Massa Brutto" as an important element of this heavy legacy, under whose banner the country's main extreme metal festivals were held at the turn of the 2000s, paving the way for young performers.

The regional wave was supplemented by Gomel melodic death metallers "Stormhold", Rechitsa brutal scene veterans "Evthanazia", pagan metallers from Mogilev region "Dryhva", Vitebsk death metal project "Forodwaith", Gomel pioneers of cyber-metalcore "M.L.A.". This list is completed by pioneers of domestic industrial metal "Partyzone", cult leaders of Belarusian folk metal band "Litvintroll", sludge metallers "Stickoxydal", folk-metal band "Folcore", Minsk thrash metal release "Invasion" (1993) by the band "Tornado", as well as hardcore and metalcore bands "Too Late Frozen", "Antiglobalizator" and "Dead silence hides my cries". The melodic heavy metal band "Siyanie" (Shine) also joined this heavy capital cohort.

Guitar romance, Britpop and indie wave

A fair historical reminder in the comments was the mention of the blues-rock band "Rouble Zone" led by Aleh "Jagger" Minakou — winners of the main "Great Rock-Crown 1995", whose English-language album resonated throughout the country.

Along with them, users noted the English-language indie and Britpop wave of the 2000s. This list included the Britpop band "Open Space", the wild garage-rock trio "The Toobes", which conquered Europe, and the collective "The Blackmail" (on the basis of which the famous post-punk project "Super Besse" later formed). Brit-rockers "Sonika" (whose single "Novy dzen" (New Day) was included in the official soundtrack of the film "Higher Than the Sky" and performed by actors in the film's finale), as well as veterans of the capital's English-language scene "Hair Peace Salon", were named the face of this stylish wave.

Listeners supplemented this guitar series with the authors of the award-winning indie-rock "Clover Club", the British retro-sound inspired "The Stampletons", the bands "Ferris Wheel", "The Apples", and representatives of the domestic screamo and post-rock scene with the unusual French name "Marie Chante Quelle Elle Telephone". The atmospheric and meditative instrumental sector was represented by the bands "Blackpaperplanes", "Me_in_danger", and "Enau Band". "Rock-Coronation" winners in the "Discovery of the Year" nomination, Britpop band "Esprit" and expressive rock-n-rollers "U.G.oslavia", were also mentioned. The list also included indie project "Sinie Gory" (Blue Mountains), Vileika fusion-rock "Planeta vsekh" (Planet of All), Minsk pop-rock band "Plato", as well as early hip-hop recordings — Luninets youth rap project by Max Korzh "Lunclan" and rapper Vozhyk's project "Ultravolzhik" (Ultrahedgehog).

The "Rock-Coronation" laureates in the "Discovery of the Year" nomination, Britpop band "Esprit" and expressive rock-n-rollers "U.G.oslavia," were also mentioned. The list also included indie projects "Liudzi u khudzi" (People in Hoodies), "Sinie Gory" (Blue Mountains), "Planeta vsekh" (Planet of All), collectives "Lunclan," "Ultravolzhik," and the pop-rock band "Plato."

Club nostalgia and local releases of the 2000s

Users dedicated a huge layer of memories to bands that actively gathered audiences at local concerts and rehearsals but remained in digital isolation. Listeners recalled the Minsk residents "Everest", who played melodic alternative rock and gathered full houses at the capital's "Reactor" club, the cult Minsk acoustic neofolk band "Rokash", pagan folkers "Kashlaty Vokh", and Brest alternative rockers "Sciana". Along with them, Mogilev alternative rockers "3t.on", Mogilev gothic metal "Wolfshade", Gomel collective "Tseit Not", and the popular alternative project "Hurma" were mentioned.

A separate layer of memories was dedicated by users to bands of the Belarusian revival rock movement of the 2000s. Interlocutors highlighted the bands "Amaroka," "Haradzkija" (Pita Paulau's project from N.R.M.), and the band "I KROK" (And a Step). Nearby, in the memory of listeners, remained the Minsk pop-rockers "By The Way" and "Skarlett," as well as jazz-funk mastodons "Apple Tea."

The regional and capital wave of that time, which performed at local festivals, was represented by Minsk pop-rockers "Mlechny Shlyakh" (Milky Way), bands from Baranovichy — alternative rockers "Astrus", punk-rockers "HornyCats" and "Voronin Band", as well as Smarhon rock band "Fox". The delicate intelligent pop-rock sound was recalled by the band "Chekhov", and the female indie-pop sector was marked by the capital's collective "Mamkiny Busy" (Mom's Beads).

The finale of this nostalgia for club releases became the capital's grunge band "Mutnaye Voka" (Murky Eye), Mogilev lyricists "Serdtse duraka" (Fool's Heart), gothic rock theater "Tim Erna", capital's alternative rockers "7 hertz" and Gomel collective "yamaya".

Outrage, hooliganism and "poetic idiocy"

A special place in the comments was taken by projects that relied on musical provocations, humor, and sharp satire. Here, listeners included the duo "ROCKERJOCKER" with their hooligan street folk, ironic punk-rockers with "poetic idiocy" "Patsuki" (Rats), Brest alternative rock "Sprat", parody-punks "Ded Banzai i Yaytsy" (Grandpa Banzai and Eggs), and the crazy satirical heavy metal project from the mid-1990s "Raspisil i Vybrocil" (Sawed Up and Threw Away).

This same company of uncompromising underground was closed by the pioneers of domestic hip-hop of the 1990s — the Lepel band "Udar Bandy" (Gang Strike), legends of political Belarusian-language rap of the 2000s "Chyrvonym pa Bielamu" (Red on White, ChPB) and solo artist Zeman, who started his journey as part of their group. Nearby were located the wild Brest gypsy cabaret-punk project "Plyumbum" (Plum Bum), and street neoclassicists "EVAND".

The final point of the sector became the Vitebsk art-punks "P.i.v.o." (Beer), who staged outrageous performances at concerts, and the notoriously famous Minsk punk band with the provocative name "Vremia pokazyvat zadnitsy" (Time to show asses).

The list of memories concluded with the names of solo performers and bards of different generations: from the philosophical Vitebsk author from the village of Ruba, Mikhail Rubin, to bright representatives of the acoustic revival of the 2000s, Raman Yarash and Yauhen Baryshnikau. Along with them, listeners also remembered Liapsha Chykanas's Latin American ironic folk-project "Los Chicanos."

This large and warm thread became a true people's archive. Thousands of nostalgic messages showed that a huge amount of unique Belarusian music from past decades is under threat of disappearance. Because until these recordings appear on popular streaming platforms, they continue to live only in the memory of devoted listeners.

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