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

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

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

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

The band "HandmadE" formed in Minsk in 2009 as a result of the joint work of journalist Yauhen Valoshyn and guitarist Andrei Markuts. Poet Hleb Labadzenka created the lyrics for the collective. The band stood out by combining rock, blues, and urban reggae. In 2013, they recorded a joint track "Bieh pa kanatakh" (Running on Ropes) with world Muay Thai champion Vital Hurkou, after which the collective gradually disappeared from the radar.

Disputes about celebrities and concert passions

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

The band formed in 2004 after the previous rock project "Montana" closed and the sisters returned from Tokyo, where they adopted the aesthetics of Japanese Harajuku street fashion. After releasing the hits "Menya zovut lyubov" (My name is love), "Kartinki" (Pictures), and "Batterflyai" (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 "DetiDetey" 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 "DetiDetey" was founded in 2005 by actors of the Yanka Kupala National Academic Theater. Hanna Khitryk served as the vocalist and face of the collective, complemented by Dzmitry Yesianevich and Mikhail Zuy. The musicians combined a 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 critics of the Experty.by portal as the best album of 2010), the band suddenly suspended its activities 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

Compiling 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 their favorites, another unequivocally characterized 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 list's author disagreed, countering 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 Andrei Dzemyantsieu. 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 commentator named the indie band "Bosaje Sontsa" (Barefoot Sun) — Ales Kat-Zaitsau's project, created in 2005 — as the most interesting from his list. The band performed melodic Belarusian-language pop-rock. Their album "Adpustsi" (Let Go) (2013) was noted by music critics, and the composition "Psikhiyatychnaya" (Psychiatric), based on a poem by Anatol Sys, gained particular fame.

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

Unpleasant situations with fans of various bands were also recalled. For instance, one commentator witnessed an incident in November 2012 at the Minsk club Re:Public, where, during the opening act for the Mahiliou collective "Akute," which was holding a big solo concert, the audience began to boo and "chmyrits" (deride/heckle) the musicians of the capital's grunge band "AVIAS". According to him, the youth audience was awaiting their idols' performance and did not appreciate the unfamiliar sound.

The band "AVIAS" later released a successful debut album "Koliery" (Colors) (2014). Alongside them, users nostalgically remembered other veterans of the local grunge movement — the Vitsebsk band "Uzhye" (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 Mahiliou collective "Akute," in turn, was founded in 2008 by former members of the punk band "Hliuki" (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 every region or city, completely different musical projects held cult status. For example, according to one commentator, the band "Avangardshkola" (Avant-garde School) is still remembered by all of Mahiliou today. Another user added that the band was also well-known in Slutsk — alongside Mahiliou legends "Hliuki" (Glitches) and "Biedlam 444" (Bedlam 444).

The reason for this dual geography is that "Avangardshkola" was originally founded in Slutsk in 1994. However, after frontman Kiryl Smyshlyaev moved to Mahiliou for studies, the project was reborn and became one of the main representatives of the Mahiliou rock scene. The band performed alternative rock and pop-punk, and in 2012, became one of the first regional bands in Belarus to release its own music DVD titled "Vidimo" (Apparently).

The Mahiliou band "Hliuki" (Glitches), mentioned for the second time, 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". "Hliuki" themselves left at their peak: their second album "Idyjatyzm" (Idiotism) was recognized by music critics of the Experty.by portal as the best Belarusian-language release of 2009.

Navapolatsk had its cult band "Flaus i Klyayn". Commenters were even surprised that anyone knew about it outside of the Polatsk region. The project, founded by Siarhei Valodchanka and Aliaksandr Kachanaŭ, was distinguished by mixing Britpop and indie-rock with outrageous performances. The band once won at the "Basovishcha-2007" festival and became "Breakthrough of the Year" at the "Rock Coronation" awards.

Memories of another madness are also connected with Navapolatsk — the performance at the "Rock-Kola 99" festival by the Belaazyorsk band "Bardak House" with their famous track "Syr" (Cheese). As one commentator noted, he will never forget this outrageous and scandalous number.

The band "Bardak-House" formed in 1994 in Belaazyorsk, Brest region. Frontman Illia "Doŭhi" Trutsko and his colleagues created their own philosophical concept called "excremism". The collective was characterized 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 acutely social and gloomy lyrics.

The rock band "Tor Band" from Rahachow, which became widely known thanks to its protest singles in 2020, was also noted as a separate regional phenomenon in the comments.

The Homiel 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 by acquaintances. The project was active in the early 2000s, performing acoustic rock with reggae elements. The band used trombone, double bass, and violin, and leader Tsimafei Yazhou was called one of the strongest local lyricists by music critics.

On the other hand, one commentator was indignant that the Homiel 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 style of Solar Metal, 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 activities.

Extreme scene and intellectual avant-garde

Probably, the lists featured the most representatives of heavy music and experimental projects from the 2000s. The Mahiliou nu-metal project "Tav. Mauzer" (later shortened to "Mauzer") was called an "awesome" band. The collective was founded in 2002, and in 2005, won the Grand Prix at the "Basovishcha" festival. The band distinguished itself by combining heavy guitar sound, rapcore, and sharply social Belarusian-language lyrics by frontman Jan Mauzer, which were reflected in the albums "Radasts" (Joy) and "Porna". In 2010, the band ceased to exist.

Alongside them, listeners recalled other prominent representatives of the intellectual avant-garde. The projects of 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 local music awards in 2013 with their release "Posledniy albom" (The Last Album). Later, Pukst, together with guitarist Yauhen Bialoŭ, created the experimental and provocative hip-hop duo "True Litwin Beat", which was remembered for its sharp socio-philosophical lyrics.

The world-renowned duo "Hurzuf" — accordionist Yahor Zabelau and drummer Artsiom Zaleski, who combined an academic instrument with frantic progressive rock and minimalism — was also named an 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 collective Nightwish. Alena Hornykh left the brightest mark in this role, recording their best releases with the band. Although Natallia Stsiapanava 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 thanks to its bold combination of brutal thrash metal, male growling, female soprano, and violin parts. The 1999 album "The Unbroken" 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 even today. However, other users clarified: the collective officially ceased to exist in 2018, and its last release came out 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 "Zhyhimont Vaza". This Minsk band strictly adhered to the style of alternative hard rock. Due to the fact that the musicians released serious studio albums for many years but rarely appeared on stage, they earned the lasting nickname "virtual band" in the rock community.

Sun, bagpipes, and theater: reggae and folk revival

Surprisingly, genuine scene mastodons appeared alongside deep underground projects in one list of "semi-forgotten" bands. Thus, among indie, pop-rock, and alternative music, listeners recalled both completely underground projects and the main legends of local rock. This list included rock philosophers "Ulis" (Ulysses), melodic pagan metallers "Znich", the energetic "healthy elks" "IQ48", and the authors of the main pop-rock hits of the 2000s, "Bez Bileta" (Without a Ticket).

Alongside them, users unexpectedly classified the popular pop-rock band "J:Mors", Brest rock lyricists from the band "Sad" (Garden), and the Biaroza alternative rock band "B:N:" (Biaz Nazvy - No Name) as "semi-forgotten."

Religious and philosophical rock was represented by the Christian band "Novyy Ierusalim" (New Jerusalem) (winners of "Song of the Year" at "Rock Coronation-1997") and their Baranavichy scene counterparts — the band "Deyaniya" (Acts). People still remember the patriarchs of Minsk punk rock "Neuro Dubel" led by Aliaksandr Kulinovich, the pioneers of Belarusian blues-rock band "Krama" (Shop), representatives of 1990s revolutionary rock "Krasnye Zvezdy" (Red Stars), and Uladzimir Arakhouski's project "Severnoe Siyanie" (Northern Lights). And the main historical source of the entire scene, listeners named the band "Mroya" (Dream), on whose basis N.R.M. later formed.

In this same context, representatives of the Belarusian reggae, ska, and cabaret scene were noted, where listeners with nostalgia 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-surrealistic project "Nahual" (winners of "Rock Coronation" for best positive music) and the famous cabaret band "Serebryanaya svadba" (Silver Wedding), which remained in history forever thanks to its most important album "Laterna Magica".

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

Alongside 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 Mahiliou folk band "Chabor". Also included were Irish pub-rock performers "Irish7", the Brest ethno-project "Astrouna", and the medieval folktronica project "Pawa", which mixed bagpipe sounds with electronic beats. Theatrical and author's rock in this series was represented by the joint project of lyceum students "Partyzanskaya shkola" (Partisan School), the band "Indiha", and the musical-theatrical project "Aleksey Shedko i Sestra" (Aleksey Shedko and Sister).

A significant contribution to this direction was made by the patriarchs of the local medieval revival, the band "Stary Olsa", and the Minsk ethno-project "Jambiboom". Along with them, listeners highlighted the authors of sunny urban folk-modern, the band "Recha" (River), 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" by the Pachobuts brothers, "Basovishcha-1998" winners the band "Kalyan" (whose musicians later formed the famous collective "Dzieciuki"), freak-punk by "V3anus", brutal hardcore-punk fighters "Pet Nihil" and the band "Contra la contra".

Listeners supplemented this list with projects "Chevengur", "Golaya Monashka" (Naked Nun), bands "S O K", Navapolatsk's "Razhrom" (Rout/Debacle), and the famous Orsha team "Pani Khida", which at the end of the 1990s won two statuettes at "Rock Coronation" for best song and music video.

Alongside the metallers, listeners also 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", Hrodna punk band "Sterva" (Bitch), as well as the capital's hardcore project "Monitor Lizard" and the legendary Minsk art-punk collective "Y.Y.Y." by Vasil Shuhaĺey.

Heavy vector: from pagan black to cyber-metalcore

Fans of heavy music recalled metal bands of various directions. Among them, the Vitsebsk pagan black metallers "Apraxia", the leaders of the capital's thrash metal "Deadmarsh", and Mahiliou's death metal flagships "Asguard", who released on an American label, were specifically highlighted. The atmospheric and extreme part of the dark scene was represented by the post-black collective "Dymna Lotva", Minsk residents "Imprudence", representatives of the capital's 2000s gothic scene "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 Homiel collective "TT-34", whose track "Jack" gained nationwide popularity after being featured in the soundtrack of the blockbuster film "Night Watch". Also, an important element of this heavy legacy, listeners named Aliaksandr Litvinski's famous radio show "Massa Brutto", 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 Homiel melodic death metallers "Stormhold", Rechytsa veterans of the brutal scene the band "Evthanazia", pagan metallers from the Mahiliou region "Dryhva", Vitsebsk death metal project "Forodwaith", Homiel pioneers of cyber-metalcore "M.L.A.". This list is completed by the pioneers of local industrial metal "Partyzone", the cult leaders of Belarusian folk metal band "Litvintroll", sludge metallers "Stickoxydal", folk-metal band "Folcore", the 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 Aleg "Jagger" Minakou — winners of the main "Great Rock Crown 1995," whose English-language album resonated throughout the country.

Alongside 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 whose basis 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 "Vyshej za nieba" (Higher Than the Sky) and performed by actors in the film's finale) and veterans of the capital's English-language scene "Hair Peace Salon" were named the face of this same stylish wave.

Listeners supplemented this guitar lineup with the authors of award-winning indie-rock "Clover Club," "The Stampletons" inspired by British retro sound, the bands "Ferris Wheel," "The Apples," and representatives of the local 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." Also mentioned were the "Rock Coronation" laureates in the "Discovery of the Year" nomination, Britpop band "Esprit," and expressive rock-n-rollers "U.G.oslavia." The list also included indie projects "Liudzi ŭ khudzi" (People in Hoodies), "Sinie Gory" (Blue Mountains), Vileyka fusion-rock "Planeta vsekh" (Planet of All), Minsk pop-rock band "Plato," as well as early hip-hop recordings — Maks Korzh's Luninets youth rap project "Lunclan" and rapper Vozhyk's project "Ultravolzhik" (Ultrahedgehog).

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 Minsk residents "Everest", who played melodic alternative rock and gathered full houses at the capital's "Reaktor" club, the cult Minsk acoustic neo-folk band "Rokash", pagan folkers "Kashlaty Vokh", and Brest alternative rockers "Sciana". Alongside them, Mahiliou alternative rockers "3t.on", Mahiliou gothic-metal "Wolfshade", Homiel collective "Tseyt Not", and the popular alternative project "Hurma" were mentioned.

Users dedicated a separate layer of memories to bands of the Belarusian revivalist rock movement of the 2000s. Interlocutors highlighted the bands "Amaroka", "Garadzkija" (Urban) (Pita Paŭlaŭ's project from N.R.M.) and the band "I KROK" (And A Step). In the listeners' memory, Minsk pop-rockers "By The Way" and "Skarlett", as well as jazz-funk mastodons "Apple Tea", remained nearby.

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 Baranavichy — alternative rockers "Astrus", punk-rockers "HornyCats" and "Voronin Band", as well as the Smarhon rock band "Fox". The delicate intelligent pop-rock sound was reminiscent of the band "Chekhov", while the female indie-pop sector was marked by the capital's collective "Mamkiny Buski" (Mom's Beads).

The finale of this nostalgia for club releases were the capital's grunge band "Mutnae Voka" (Murky Eye), Mahiliou lyricists "Serdtse duraka" (Fool's Heart), gothic rock theater "Tim Erna", capital alternative rockers "7 Hertz" and Homiel collective "yamaya".

Outrage, hooliganism, and "poetic idiocy"

A special place in the comments was occupied 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 Yayatzy" (Grandpa Banzai and Eggs), and the insane satirical heavy metal project of the mid-1990s "Raspisil i Vybrocil" (Sawed Up and Threw Away).

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

The final point of this sector was the Vitsebsk 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 artists and bards of different generations: from the philosophical Vitsebsk author from Ruba village, Mikhail Rubіn, to bright representatives of the acoustic revival of the 2000s, Raman Yarash and Yauhen Baryshnikau. Along with them, listeners also remembered Liósha Chikanos' Latin American ironic folk project "Los Chicanos".

This large and warm thread has become 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 disappearing. Because until these recordings appear on popular streaming services, they continue to live only in the memory of devoted listeners.

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