Digest of Russian music: March - April

On the second album "Marta" with the Moscow Trio OQJav , already good, a phenomenal transformation occurs. Like a subtile-introvert, before that, which was mainly sitting in the corner and slightly revived only when the next girl was drifted by in a short dress, suddenly turned out to be Rocky Balboa, who elegantly sends absolutely all opponents, then at least the king of the party with a huge pile of stories, scenes and character sketches in the reserve, funny, funny, funny, funny, funny, funny exact, bright and humanly very true. Moreover, this storitelling in Okudzhavs manifests itself everywhere-not only in the texts in which they are great experimenting with the Russian language, analyzing it into the components and folding it back, approximately like hip-hop-dijes act with samples, but also in the arrangements themselves, which go cheerfully in all directions at the same time. “Husky” floats on you with the simultaneously weightless and inevitable grace, like an icebreaker-ghost through the river fog, “on suitcases” languidly melts for almost ten minutes, the “aerobics” accurately accurately withdraws the white-toothed energy of thoughtless-porous eighties synthesizers, and the “comrades” elegantly ledes the longtime Trio's text friendship with alcohol, without telling about it, but the sound of the sprout. Melancholy disco, dotted R&B , sleeping Laofi indie under the drama-machine, dance rhythms, funk rock with puffs, sincere rustic accordion, fre-jazz saxophone solo-at Martha, the sound OQJAV accommodates all this and does not break in surprising way. “Farewell to the epost,” Vadim Korolev mutters convincingly hiding the irony at the beginning of one song, and indeed: with such a material “Okudzhava” it is time to go to the stage a much more serious level.