"After all, we also have anarchy"

Auktsyon gives a series of concerts in honor of the 30th anniversary. COLTA. RU dictated their impressions of the group who has experienced, who are usually in the shadow of frontmen - Leonid Fedorov and Oleg Garkushi, as well as the long -standing collaborators of the team.

Arkady Wolf

one of the first vocalists

It was 1985. I remembered, because it was the last year of the existence of the Strange Games group. There was a company of people that did not miss any of their concerts: Alex Raletty and Igor Motya Motovilov from the People’s Militia, Natasha Pivovarova and Ira Sharovatov from future hummingbirds. And Oleg Garkush. He often visited my house, we had common girls, we hung with Vitya Sologob. And he said that he was communicating with the musicians, he spoke about Lenya Fedorov. Lenya just married, he had a daughter. He was the author, and Markusha gave crazy to the group, provided her connection with a fashionable party. Because then Auktsyon was just one of the groups that try something. They lacked the singer. And in my childhood I salted in the choir. And Oleg told me: Lenya Kartavit, embarrassed, we need a charismatic singer. So I got to the point, it seems, on the corner of Kondratyevsky and metallists. I met Igor a Cherterik, who then became the drummer of the Games group.

We began to learn the songs: “Money is paper”, “The wolf goes to her wolf”, “The woman looks with a prayer at the sixth floor.” I wanted to make a little madness there, I was a twitching dude, wanted expression. And they wanted avant -garde. I did not feel the compositional gift at the Auktsyon. I still consider him a group that does not have a musical taste.

In a word, they just needed a singer who sings. And I also did not like the texts. I walked around, went to rehearsals, then I began to be burdened and did not even reach the moment when I had to go on stage.

Mikhail Rappoport

Sound engineer

I came to Auktsyon in 1987. Then I was already actively interested in rock music, but I did not really pay attention to the rock club, I liked the branded, bourgeois music more. It seemed to me that nothing was happening in Russian. But I was friends with different guys from a musical party. He graduated from the Bonch-Bruevich Institute, was interested in radio engineering, tape recorders, amplifiers, worked with a team from the ship's institute, they performed at the point on Rustaveli Street and in LDM.

And I had a friend Dmitry Matkovsky (guitarist. - Ed. ), He who did not play in Auktsyon then. And when he was called there, he, as a companion man, dragged me. Dima brought Lenya to my house. And Lenya said: help us perform at the concert. The Nevsky recreation center celebrated the fact that Joanna (Stingrey.- Ed. ) Give a rock club Yamaha (though there were a lot of problems with it, it turned out to be 120 volts, the techniques had to puff). And Lenya said that there would be a lot of speakers, the sound engineer is very needed. I came to the rehearsal to listen to them. Previously, I only heard Auktsyon out of the corner of my ear and saw out of the corner of my eye. In a smoke break, the bassist Vitka asked: are you to us for a long time? "No, I'm only for a concert - and pre -Vidos."

Is Auktsyon a difficult team for a sound engineer? It is difficult when there, say, Tanya Grindenko with violins and Hammond is being introduced. And I understand that there is not enough time, I do not know how to voice violins. And so for almost 30 years, somehow in the figure. Probably, this is self -confidence, it is probably necessary to relate to work more reverent. But I have already shaved, my heart is no longer knocking, like a sparrow, when I go to the remote control. After all, we also have anarchy. I tried to put order in the team. He said that the guitar should not yell on stage, for example. But it turned out that this is a hopeless path. Lenya obeyed me, but broke off, he was not a high. Or here is the drummer Borya (Shaveikov. - Ed. ). He loves to play loudly. And in Germany, we came across empty hangars, from the blow to the small one everything exploded there, the tower broke! And I asked Borya: maybe you will put something, you will be quiet? Borya nodded and hollowed louder.

Work in Auktsyon corrupted me - I am bored with other teams. In the studio, I stuck it hard into the workflow. I'm starting to fall asleep. I stop understanding what is happening. For example, we sit, listen to duplicate, try to decide what is better, which is worse. At the same time, after a few days, having slept, we begin to understand everything. Apparently, this can be learned, but training is required, and I am used to solving the problem quickly. So at the studio I feel not at ease.

I put my hand in a backpack, where all the revenue was, but there was no money! The fact that I got gray instantly noted Fedorov.

We wrote albums quickly, because we were constrained in the means. The “tenant of the peaks” was a turning point in this regard. Lenya became friends with the sound engineer Lesha Ananiev, and sat in the evenings, built a sound picture, until it became clear a year later: if this is not a strong -willed effort, the process will never end. And Lenya began to engage in sound recording thoroughly, came to taste, began to do this at home.

Colic (Rubanov. - Ed. ) - a specific musician. His first doubles usually do not sound very. Here, Matkovsky, on the contrary, turned out to be emotional. And then it was worse. And only give a colic to free rein, when he got out, you can’t stop it anymore. And it is easier to move the rest in order to preserve high. Therefore, both at concerts and rehearsals, the group works with a rough structure of songs.

The group has no set list for a long time. Usually Lenka can say the first song. But this does not mean that he will play her. Nobody knows the second. It all depends on how the first goes. He wants to - hesitates, wants to play calmly. Well, I can understand one note at one note of what will be the following.

I see more and more youth at concerts. I see young ladies of 18-20 years of non -hippy species that sing along to songs. It seems to me that this is not quite them ... and more and more elderly. Our audience is aging with us.

For many years I did not listen to our old albums. Recently I had to. How uninteresting they are! A lot of youth enthusiasm, and a little mature highness, which is now.

Nikolai Rubanov

Brave instruments

I came to Auktsyon in order to play at the V Leningrad rock festival (in 1987), to strengthen the spiritual section in which Nikolai Fedorovich was already (saxophonist.- Ed. ). And then I stayed, and he left for physiological reasons, carried away by severe drugs, he had no time to play. At first, the influence of groups such as Police , The Cure was very strong. It was modern music. But there are many participants in the group, everyone listened to different things. I listened to Free jazz, Led Zeppelin , Art Cro Croaches, Modern Chamber Music. In principle, the pseudojazic stream came from me. But it was not jazz. We must take into account the game of stereotypes. A saxophone performing irregular music - of course, this is a jazz! Although there is a lot of other saxophone non -jazz music. This is the specificity of Russian perception.

The group rehearses from time to time. Not a repertoire - we have been playing the third ten years. These songs are modified in the process of living performance. We rehearse, say, before recording, because some organizational points are better to find out before coming to the studio. True, we committed with squares for a very long time. In the best case, there is a chorus, a verse. Usually - text and musical idea, they begin to live together, the text immediately begins to change. Sometimes it passes very dynamically. Sometimes static.

Actually, we rehearsed after the "tenant". But the main difficulty in recording Auktsyon albums is that each of them should be individual and not like the previous ones. Each time this is more difficult to achieve. Patterns have already been developed. When working with songs, you have to sweat more and more. Many ideas that rehearsed were included in Fedorov's soloists. Because the solo is easier to implement, it is easier to work alone, you can change tools - already a new picture.

In my opinion, an adequate group would have sounded already in the “drums, bass, guitar”. The rest is candy wrappers. I even repeatedly offered Fedorov to do this, he did not go for it. Another thing is that when there are a lot of people, everything is much more fun. But in such a team you need to realize the concept of a pause. Accept him and come to terms. When new people get into the team - which is not frequent, of course, now happens - they begin to play more than they need. Looking for a place. Because it is better to try than invent. Volkov, too, at first drank scary. But then, as a musician with rich experience, I understood everything.

In the 90s, there were few concerts in Russia. And the tour in Germany was easier to charge than a concert in Ryazan or Yekaterinburg because of economic chaos. At that moment, we could earn 500 marks there and live for a rather long time enough. We performed in Northern Europe - Germany, Holland, Denmark. The audience there was not particularly broken up that they were singing in an incomprehensible language. They were attracted by sincerity, energy. Although they constantly asked what the songs about. And we had several concerts when, during the song “Bombs”, Veselkin took out posters with text in German - a cardboard in the vestment. But there were no special problems. Because the text in Auktsyon is one of the components, but not the main one.

Work in Auktsyon corrupted me - I am bored with other teams.

It was a good period, a school of life, a real concert practice, not Russian, basement, with a bad apparatus, when there was enough physical presence on the stage: Garkusha came out - and everyone was yelling. And then each concert was a test. People are unfamiliar, they know nothing. And we need to play so that there is an event.

We lived on the territory of one bus. He was 32 or 42 seats. Two entrances, but short. Communal hostel. They dried concert costumes there, and they stink worse than socks. The ropes stretched across the bus. Mercedes gypsy codes with a diesel engine.

On the last album, I play two home -made tools. The hose is made of garden plastic ribbed hoses. I cut them into different pieces and built a parody of a pane flute with mouthpieces. And the second, the pipe, made 50 mm in diameter from a plastic fan pipe, turning it into a protabas-clarnet prototype.

Living records have a very dirty sound. And it is very difficult to understand whether it is a technical marriage or not. Here we had a double concert "Girls sing", from presentations in St. Petersburg and Moscow. And they are different in the sound. When you start to listen, knowing how it really was, you understand that the glossy version turned out. In terms of frequencies there everything is leveled and so on. Very fashionable drums are heard from the concert in St. Petersburg. Borya does not play like that, he has a fat, fleshy sound. And in the end they brought too much professionally. As a result, the overall picture became different.

Lenka can say the first song. But this does not mean that he will play her. Nobody knows the second.

I have a sign - if the sound is good on the sound, then the concert will be bad. Even Keith Richards wrote in his thick biography: despite the fact that we play at the stadiums, there remains a participant in the team, which many forget about, this is God. All is well until the audience enters, the acoustic picture immediately changes, and not for the better. Or everything is bad on the sound, and then everything is aligned.

If there are a lot of monitors on the stage, then everyone is asking to remove Garkush. When he reads poems, it is cute, but when he yells, it just takes out the whole brain instantly.

Sergey Vasiliev

director

In the early 90s, Auktsyon and did not wait for me were the best groups in the country. I remember my hair stood on end when I heard a song on the SNC radio, which could not be represented by the Russian group. But Nastya Rakhlin in a good voice announced: “You listened to a new composition from the album“ Auktsyon ”and Alexei Khvostenko“ The Teapiture of the Wine ”.” I immediately began to look for this record.

At that time, I talked with the Aquarium, more precisely, with the sound engineer Slava Egorov and Mikhail Faynstein, percussionist and director. I worked in a recreation center of the connection where they rehearsed. But somehow I accidentally met a fireplace at the Factory of Gramplasts. He helped Auktsyon release the album and directed me to their director, Lida Shaposhnikova. I immediately realized that this is a “kettle of wine”, and said: I will buy two boxes at once.

She offered me a pickup and directed me to a point where Auktsyon rehearsed. It was then, standing in front of a closed door in anticipation of the end of a rehearsal, I heard new music, something beautiful to madness. Lenya Fedorov opened the door to me, I greeted everyone, took the records and left. The records, by the way, dispersed in a rather original way: I came to visit a friend, put a record for him, and if it was clear in my eyes that he liked it, he gave. About ten years later, I finally realized that the song that the group was rehearsed then came out in the end under the name "there will be no winter." Only today it is three times slower.

So I knew them before the first concert they organized. I also remember how the first time I saw Auktsyon on stage. At a concert in a recreation center of the connection where I worked, I climbed onto the balcony, found a place next to an elderly woman, thinking to myself: wow, and such adult characters go to Auktsyon. She began to watch a performance in binoculars. Since I have poor vision, I asked her to lend my eyepieces for at least one song. I watched the laid, I wanted to return it, and she replied: “Take it, I have already seen them a hundred times.” Then the second time I cried out. And then she said that her son Leonid was playing there ...

I have a sign - if the sound is good on the sound, then the concert will be bad.

Personally, I believe that my directorship in Auktsyon began on December 25, 1993, when I went to Fedorov after the concert and offered to make them a speech at our institute. At the institute in which I studied, sometimes quite interesting groups performed: “hummingbirds”, “diamonds from Neckerman”, it seems, Veselkin with his project. The organizers of these concerts promised to invite Auktsyon. But two years have passed, I already received a diploma, however, I remained to hang out at my native university. And there was no concert. And then I decided to do everything myself. He talked with Fedorov, he surprisingly easily and quickly agreed. And then they took me to Moscow, to the concert in the tiny “bunker”, to trade disks. And then there was a concert at my institute, which I did myself. For the first time in your life! He was pleased, proud of himself ... until the moment came to pay for the hall and the device. I put my hand in a backpack, where all the revenue was, but there was no money! The fact that I got gray instantly noted Fedorov. "What is such a gloomy?" - asks. I explain the situation, and he: wait, I still did not give out the guys. He ran to the dressing room and gave the money to the group so that I could pay! I mumbled something about “I will definitely return”, but I still have not passed the shock from this act.

The next day I came home to Fedorov to apologize and agree at what time I can return this money to musicians. I understood that it was my last concert in my life, but I really did not want me to be poorly remembered. He said that I would give everything, although he did not understand how I would do it, to be honest. And Lenya replied: "Do not worry, we went better with us to Germany." I traveled for two years and for a long time did not cut down, why. Yes, I issued a visas to them, I could quickly lead across the border. But at concerts, the discs was sold by the German manager Christoph, Ozersky went to the grocery store, as he knew German. And why am I? And the most incomprehensible thing for me is that I received money on a par with everyone. For what? In the group they told me that I was the right person. And I came up with such an excuse for myself that from a psychological point of view they needed a lightning rod so that there were no breakdowns among the main participants in the process in the routine of touring life.

I still consider Auktsyon a group that does not have a musical taste.

It should be noted that I have never been engaged in calling someone and knocking out concerts. Only once he himself made a tour of the year in 1996. He sat on the train and drove through 15 cities, everywhere he was looking for contacts of local organizers. In Samara, for example, he came to some garages. Young, with a handful boys, unload vodka. They asked them who could make a concert. I was immediately waved towards the right people. In the end - found.

I have the main task now - so that Auktsyon exist as long as possible in the creative plan. I patiently wait for any pauses. I have never initiated the recording process, with the exception of the album "Girls sing." Then I asked Frank London if there is a studio in New York, where you can sign up live (it's like asking whether there are bakeries in New York). Naturally, he replied: Yes-Yes! And I told Fedorov that we were offered to sign up. Ducused. And London immediately stated that he could call any musicians, Fedorov issued: “Ribo, Money, Zorn” - and everything turned out.

I definitely did not sell - no one was needed for hell.

Fedorov sometimes says: "Here, they came up with a song with Ozersky, how do you like it?" I listen and answer: "Suitable" Auktsyon "." — «Да, наверное...» А потом она выходит на сольнике. В этом ничего страшного нет. Я считаю, что если бы Федоров стремился каждый год выпускать новые альбомы группы, то не было бы ни «Жильца», ни «Мамы».

Чтобы понять, как группу воспринимают «там», надо на секундочку представить, что ты не понимаешь, о чем они поют. Соответственно люди будут слушать, что ты играешь. За бугром зрительская музыкальная культура более высокая. Я не знаю почему, может, у них уроки пения в школе чаще, чем у нас. Но они слышат каждый инструмент, ценят моменты импровизации, а этого в «АукцЫоне» выше крыши. В Германии, когда мы активно ездили в 90-е, люди с ума сходили. Это были не стадионы, но народу было много, и в основном приходили аборигены. Для них играть концерты было очень интересно. Оценка зрителей, которые не понимают текстов песен, сродни объективной.

Олег Грабко

продюсер, основатель музыкальной компании Bomba-Piter и издательства Manchester Files

Я с «АукцЫоном» сошелся через друзей из «Мануфактуры», где играл Дима Матковский. Кажется, в первый раз я группу увидел после армии, в 1985-м, в какой-то телепередаче, где они пели что-то у ЛДМ. Помню концерт в Шушарах, где Рогожин (один из первых вокалистов группы, пел наравне с Федоровым. — Ред. ) поразил меня как солист. Потом было восхитительное издание «Как я стал предателем» во Франции. А Матковский мне даже отдал 24-дорожечную бобину, потрековую запись альбома, которую я уже не помню, куда дел. Точно не продал — никому она на хрен не была нужна. Сейчас можно было бы пересвести и издать.

Когда в 1992 году открылся мой магазин «Манчестер», они, как и весь рок-клуб, стали туда приносить изданное, весь утиль, кассеты, книги. Рассказывали истории об их директоре Лиде. Как они могли сесть в автобус, проехать 100 км — «Лида, а как там деньги?» — «А-а-а, я забыла». Или выйти из автобуса по нужде, отъехать 50 км — «А где Матковский?» Вернутся, а он сидит, читает свои мантры.

В 1996-м ко мне в компанию пришел Игорь Дранкевич, дайвингист и художник. И мы придумали сделать кассетный бокс-сет из всех изданных альбомов «АукцЫона». Он нарисовал панно, которое складывалось в картинку. С этим бокс-сетом мы залипли. В общем-то группа была ликвидная, записи ее продавались. Но в 2005-м я все равно выкинул чуть ли не 500 этих бокс-сетов. Все из-за пиратов. Помню, сам накрывал склад компании КДК на Полтавской — а там были и Янка, и «Гражданская оборона», и «АукцЫон» с отксеренными обложками.

Если мониторов на сцене много, то все просят убрать Гаркушу.

В конце 1990-х было ощущение, что «АукцЫон» может развалиться. У Леньки мысли пошли в сольную карьеру, альбомов не было лет десять. Они только играли концерты. В 90-е группа была в андеграунде. Что бы ни говорили, многое у них изменилось после «Брата-2», пошла пруха.

Собственно, единственный CD , который я издал с ними, — это первый Ленькин сольник «Четыресполовинойтонны». Ему были нужны деньги для покупки квартиры на Моховой. Раньше он жил на Юго-Западе. Не хватало 4500 долларов. Я ему их одолжил и обременил сольником. Помню, мы с ним писались в студии с кучей микрофонов. Леня не хотел делать просто акустику, хотел какого-то «Пинк Флойда», звука с отраженкой. Записали, послушали — полное говно. Выкинули. И потом он на Крюковом канале, на студии документального кино, чуть ли не с одного раза все сделал. И в конце мы поставили длинную «соплю», доведя хронометраж до 74 минут, чтобы не пиратили. Так что я рад, что в моем каталоге есть «АукцЫон». Все-таки это моя любимая группа.

«АукцЫон» выступает 4 октября в клубе A2 (СПб.), 5 октября — в Arena Moscow, 2 ноября — в ЦКМ НАУ (Киев), 22 ноября — в ДК машиностроителей (Днепропетровск).