Amidst a global tide of electronic beats and viral hits, a distinct wave of guitar-driven sincerity is quietly captivating audiences in Russia.
For several years, the narrative surrounding guitar-centric music has largely confined it to the margins of contemporary popular culture. The charts and streaming platforms are undeniably dominated by the pulsating rhythms of hip-hop and electronic dance music. Yet, a curious counter-trend has been steadily gaining momentum in Russia, spearheaded by a cluster of artists now colloquially referred to as the “New Kind” (a direct translation of the Russian “новые добрые”). These bands are not merely surviving; they are thriving, filling substantial venues and accumulating impressive streaming figures, all while adhering to a sound that deliberately deviates from conventional pop standards.
Defining the `New Kind` Sound
The term “New Kind,” though originating in niche music Telegram channels, has accurately captured the essence of this emerging force. While it encompasses various musical styles, its most prominent representatives are undeniably guitar bands. Key among them are collectives such as Sirotkin, Daite Tank(!), Bond S Knopkoy, and Beautiful Boys. What makes their ascent particularly intriguing is their defiance of typical categorization. Unlike historical music movements often bound by geographical proximity (think the legendary Soviet rock clubs), these artists hail from disparate cities across Russia—Novosibirsk, Kolomna, Neftekamsk, and Saratov, respectively. Furthermore, their musical palettes are broad, ranging from robust rock to delicate folk, resisting a singular genre label.
An Unconventional Path to Prominence
In an era where overnight viral sensations are perceived as the golden ticket to success, the trajectory of the “New Kind” artists stands in stark contrast. The prevailing industry dogma dictates the urgent need for a breakout single, a social media trend-setter designed to generate maximum hype. For these bands, however, the journey has been a patient, incremental one. Their recognition has grown organically, release by release, with the music itself—rather than external fanfare—serving as the primary engine of their ascent. This deliberate, unhurried growth has fostered a deeper connection with their audience, built on substance over fleeting spectacle.
The Enduring Appeal of Sincerity
The descriptor “kind” or “good” attached to this movement is remarkably apt. Listen to Sirotkin`s “Dobry Zloy” (Kind Evil), Daite Tank(!)`s “Familia” (Family Name), Beautiful Boys` “Ty Vybirayesh Chudesa” (You Choose Miracles), or Bond S Knopkoy`s breakout hit “Kukhni” (Kitchens). The raw honesty embedded in these compositions is palpable. If this sincerity is merely a calculated commercial strategy, then these musicians are, frankly, master manipulators of the human condition. More plausibly, it speaks to their genuine ability to craft music devoid of the often cloying and artificial sheen of commercial ambition.
This is popular music, yes, but it is the kind that invites late-night contemplation. It offers unvarnished melodies, lyrics that coalesce into coherent narratives, and voices that embrace their imperfections without apology. It represents a refreshing counter-narrative to the prevailing sonic landscape, where often polished, mass-produced tracks prioritize immediate gratification over lasting resonance.
A New Chapter in Russian Guitar Music History
Historically, surges in Russian guitar music have often carried ideological undertones. The classic Russian rock of the late eighties and early nineties, for instance, provided an evocative soundtrack to the collapse of the USSR. The modernized rock of the early 2000s, epitomized by its role in films like “Brother 2,” aspired to be a people`s music but struggled to achieve universal appeal without sacrificing complexity. The mid-2000s alternative boom, fondly remembered by many as “bring back my 2007,” was a celebration for youth who believed Russia could mirror Western musical trends, albeit in Russian.
Now, a new guitar narrative unfolds against the persistent backdrop of hip-hop and dance music`s dominance. The “New Kind” bands appear to be answering a distinct contemporary demand: a yearning for escapism and a return to something resembling normalcy in an era where normalcy itself often feels precarious. Their audience seems to possess a refined taste, an expansive vocabulary, and a musical breadth that many mainstream artists might well envy.
The Perils of Popularity
Popularity, however, is a famously fickle companion. It invariably burdens artists with expectations, peculiar creative entanglements, and, inevitably, financial considerations that do not always serve the artistic process. It will be fascinating to observe how these torchbearers of the “New Kind” navigate the complexities of their growing fame. One can only hope that their newfound success will be accompanied by an abundance of inspiration. After all, the creative act of composing and recording music is widely regarded as an excellent antidote to nascent delusions of grandeur. It is a sentiment that, with a dash of irony, one wishes upon all who find themselves in the spotlight.
