Hits from “Brother” turned into hip-hop and dance
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Tribute compilation based on famous soundtracks released
Armor-piercing rock hits from Balabanov’s film series have undergone another reboot. This time the artists had fun with the artifacts, most of whom only laugh at the local rock. However, sometimes it didn’t turn out so bad.
The formal reason for the cover activity was the 25th anniversary of the film “Brother”. However, chronological accuracy is clearly not primarily concerned with the producers of the project, so the soundtracks of the first and second films are mixed here, but they do not interfere with each other at all. On this collection, in principle, there is little that prevents you from listening to how the new invades the old. True, something is a little confusing.
All ten tracks of this release from Butusov’s “Black Birds” and “Roads”, from “Auktyon” to “I’m going”, from “Dances Minus” and “Nobody Writes to the Colonel” from “Bi-2” were written at a time when hits became songs with quite expressive melodies. A quarter of a century later, few people are interested in melodies, because beats, hooks and dance rhythm are declared the main factors of commercial success.
This kind of musical evolution can be a point of contention, but it’s useless to fight a new approach to songwriting. It will be correct until it becomes obsolete. But here modernists and sorcerers of arrangements begin to dismantle old songs to bones, and hits lose their hitness right before our eyes.
Feduk embraced the dance beat and “Gibraltar” became the perfect start to a Friday night clubbing. However, the anxiety that was imbued with this hit from 2000 immediately disappeared. Instead, rhythm and lotions.
Loud and GONE.Fludd apparently planned to make informal hip-hop sketches based on “Black Birds” and “Coming”, respectively, but these “drawings” turned out to be more slurred than interesting.
ANIKV & Saliki and SEEMEE got tracks, as if saturated with elusive magic – “Road” from “Auktsyon” and “Earth” from “Masha and the Bears”. Both with that and with another rather complex manipulations were made, as a result of which a heap of spectacular sounds remained, but the magic completely disappeared.
Probably the most intelligible hip-hop rethinking of the rock hit was Basta’s version of “Forever Young”. The honored rapper got down to business rolling up his sleeves and actually wrote a new song, leaving only two lines in the chorus from the original of the Semantic Hallucinations group. On the whole, it turned out convincingly, but Basta is unlikely to perform it at his concerts.
Shortparis acted in their own spirit and turned “No one writes to the Colonel” downright into an art project. They corrected the text (in their version, the colonel himself does not write to anyone), they caught up with the dramaturgy, but in the process they killed everything that makes this song a real rock action movie.
Perhaps the most successful cover versions here are those made with an understanding of what, in fact, these compositions are about. Zoloto covered “Wings” of “Nautilus” as carefully as possible, but very emotionally, and “Kazuskoma” turned “In the Time of Rain” into hard rock, which did not spoil the initially not-butusov-style peppy track.
As a result, we got an album that is quite interesting to listen to, but the desire to listen to it again is associated with only two or three songs. This does not mean at all that “fraternal” hits are best left alone. However, some rehashings hint at the fact that old-fashioned rock is able to gobble up all modern technologies with giblets.
Newspaper headline:
“Generation Brother” as a manifesto for a new era
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