Aesthesys: Russian instrumental post-rock



There’s a lot going on in the music of Aesthesys. Most of it on paper – Interpol-like driving guitars, pretty chimes and strings, your favorite prog drummer – shouldn’t work, yet everything blends so well here. The Moscow-based outfit knows exactly what it’s doing, for it’s had years to develop its chops from its earliest days as Nik Koniwzski’s one-man project to now being a fleshed-out band.

From Bandcamp:

“[we’re] an instrumental outfit hailing from Moscow, Russia, performing a mixture of post-rock, ambient, neoclassical and progressive music.”

Aesthesys: Facebook Twitter SoundCloud Website


Зарница: pronounced “zarneetsa,” this is danceable Moscow punk filled with post-punk influences and irreverence.



Russian screamo has always had a few defining characteristics carving out its own place and fanbase all over the world: a certain tundra-inspired post-rock influence, dark yet hopeful and moving atmospheres, epic guitar riffs, and broken-hearted screaming. It’s a recipe that repeats itself over and over but rarely gets boring. Therefore, it’s quite a surprise to find out that Зарница, a new Russian all star band featuring members and ex members of well-known screamo and post-rock acts such as Namatjira, Sen Deni (from Minsk, Belarus), Totoro, Маяк and more, doesn’t play screamo.

Зарница, which means “summer lightning” and is pronounced “zarneetsa”, is a four piece based in Moscow. On their first EP released in 2016, В доме престарелых, one can certainly find a lot of influences that necessarily derive from the musical background of the band’s members, especially when it comes to the ultra-melodic and uncontainable guitar riffs. However, the post-punk driven rhythms and the drunken La Dispute vocals change the settings of Зарница’s imagery, and the final result is much more similar to early The Cure or to Makthaverskan.

The contagious liveliness of Зарница, together with their queer-oriented appearance at their own concerts, shows just how much its members needed to get off the dark tones and themes they were used to. Their songs are summer tales about being bored, getting drunk on wine, and missing the last metro home. But behind the excitement of their fans jumping at their shows, an almost unnameable fear grows through the band’s disco-punk riffs: it’s the fear of growing old and tired, of forgetting youth’s pleasures and ideals, and most of all of the always disquieting Russian winter approaching every time the summer ends. Honestly, though, Зарница’s music is warm enough to survive that as well.

Зарница: Facebook VK Bandcamp

Vladimir Martynov & Kronos Quartet

Vladimir Martynov Kronos Quartet


I’m actually talking about two things today: Russian composer Vladimir Martynov and American string ensemble Kronos Quartet. Martynov is a contemporary classical composer who specializes in concerto, orchestral music, chamber music, and choral music genres. Kronos Quartet is a San Francisco-based Grammy-winning string quartet – David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello) – that has reinterpreted everyone from Thelonious Monk to Jimi Hendrix and has worked with the likes of Asha Bhosle, The National, and David Bowie. The long list of collaborators is so impressive that it’s worth clicking here to see all the work they’ve done.

Martynov’s original “The Beatitudes” is pleasant and moving, but Kronos Quartet adds so much more depth and emotion to the composition. This string version of “The Beatitudes” needs to be played over every emotional scene in every Terrence Malick film (The Chicago Tribune also agrees).

Note: I’m not a fan of the photo chosen for this YouTube video since I think it spoofs the song’s beauty. For optimal listening, press play while not looking at this photo.

Kronos Quartet: Website Facebook Twitter