Monsters of rock

The festival summer in Moscow began loudly and brightly - with thunder and lightning. The organizers of the musical Openayers are not very lucky with the weather- the Bosco Fresh Fest and the Jazz Manor opened in the rain. It turned out that this was only a warm -up from the thundercloud of heaven: a record amount of precipitation (so far) went to the Ahmad Tea Music Fest British music festival, which was the remarkable neoprokes of Django Django , a group without much virtues and disadvantages of The Maccabees and Polly Jin Harvey -Rooperation-vamp, beloved in our area since the 1990s.

The June rain, which was covered by the Museon Park with the first song Django Django , did not particularly affect the line at the entrance to the festival, nor in a joyful mood of those who had already made their way into the territory. There were a lot of people - I would like to explain this pleasant circumstance with a special traction of Muscovites for British music, but, most likely, the matter is at the humane price for a ticket (1000 rubles) and, of course, in Pi Jay Harvey, who is not the first time in Moscow and always collects a full hall. By the time Polly Jin with the Rain group, it made several attempts to calm down, went into a new force and did not stop to the very end. Oddly enough, it was this spontaneous property that gave the concert another dimension and made it so far the most powerful and memorable in the rich season.

In Moscow, Pi Jay Harvey came with a program dedicated to the recently released album “The Hope Six Demolition Project” . This record is a socio-documentary traveler about the singer’s trips to Afghanistan, Kosovo and Washington, imbued with humanistic pathos. In the zero Pi Jay Harvey changed a lot. In the early 1990s, she was a steep and funny girl from the English hinterland, who chopped a punk blouse with the power of seven heroes and sang in simple words about the most intimate, mixing bloody and delicate, carnal and biblical. Then she became a noir rock star, which sang with Bjork, Nick Kayw and Triki. The last two albums are not interested in the singer’s albums, but universal - she translated the focus of her honest lyrics from the inner world to the environment and switched from confessions on sermons. Now in her rock and roll dramas, worthy of various and especially journalistic prizes, there are a lot of messianism, but, alas, there is almost no sex and self-irony for which we loved Polly in the 1990s.

Everyone who got into this musical and climatic cataclysm felt like a member of the humanitarian disaster.

Strength, however, has not gone anywhere. At the Moscow concert, Pi Jay Harvey, dressed up as a memorial service, arranged an incredible theatrical action - a mixture of ancient Greek tragedy and the political theater of songs. Despite the fact that from the scenery and stage tricks she had only a dense wall of sound, erected by her musicians, a powerful voice that cut through the storm, and a violent rain that seemed to wash the social ulcers of our world, combed by a singer. Each of this musical and climatic cataclysm felt like a member of a humanitarian catastrophe-at least a disadvantaged child from Kosovo or Afghanistan. However, in the final of this powerful production, her main actress and director was waiting for a warm suite in the hotel, and the audience - a mug of hot tea.

It seems that the Rammstein group is located at the opposite pole from Pi Jay Harvey and lives in another world. They are musicians of different elements. Literally - fire and water, as was visible at Moscow concerts. However, between them you can find a lot in common: like Polly Jin Harvey, the German group loves marching rhythms and black. Their music is also from the 1990s: bringing to grotesque the rock and roll KISS circus and the sound of industrial rocks, and the degree of show-show-to the temperature of the steel-roll workshop, Rammstein became the fire-breathing monsters of the rock, which are adored by the current teenagers and those who remained a teenager. It is hard to believe, but Rammstein are veterans, their first and most successful albums ( “Herzeleid” and “Sehnsucht” ) were published almost two decades ago.

The albums have not released for more than five years, Rammstein began their Moscow concert with the new song “Ramm 4” , which does not report about the group of nothing new. “Ramm 4” , starting with the Setnomodovsky bass and quoting lines from the main songs of the Germans, is a hymn to the glory of a cult, which is divided by tens of thousands of Muscovites who came to the Maxidrom 2016 festival, a lifetime monument to themselves. However, a group of immigrants from Eastern Germany, who conquered huge arenas around the world, has already earned such a monument.

Despite the fact that Rammstein is associated with devilish clowning and vulgar jokes (like six phalloimitators made according to the anatomical likeness of the penis of the group members and attached to the last record), in their song songs and their pyrotechnic shows there is a place for a topical commentary. Fulfilling on the BIS “America” , which claims that we all live in America, and specially controlled for the final “Moskau” , where the capital of Russia is lovingly discharged by the old whore, sound acutely, as their Privnis were performed by Tilel Lindemannoye in front of thousands of police and Omonovites pulled out for the eyes of thousands of police festival protection. The larger number of law enforcement officers of the surroundings of Tushin was perhaps only in 1991 - during the legendary festival "Monsters of Rock" , which, as many seemed, was marked by the collapse of the Soviet Union.

At the exit from the stadium, when we wandered to the subway past the long chain of the police, my 14-year-old nephew, whom I led to the concert, said: “I don’t understand why Rammstein Pioneers sing songs to Lenin? There are already no pioneers. ” There are, and a lot. You grow up - you will understand.