Biography

“They sound like The Doors if The Doors were the band of our new century”

-Garageband.com-

The Decomposers name comes from the French decomposer - “decompose into parts” and refers to organisms that break down dead substances, in this way supporting the natural process of decomposition.
Originally their music could indeed be defined as pretty “grim underground with complex metres”, with the main subject matter being destructiveness, suicide, depression, decomposition/decay (in all senses of the words), and pornography. However, over the years of creative development, the band started confidently approaching the style of trip-hop, soul and arena rock, with a softer sound, irony in the lyrics, but still with the same erotic flair.
Still the constant component of The Decomposers’ creativity has always been outrageous and scandalous behaviour (epatage) and provocativeness.
Some provocations are becoming even more spectacular since they address the public, which is quite sophisticated, if not to say elite. Such an audience has formed for many reasons, among which are irony, psychedelic sound, and subtle stylistic arrangements.
In their different periods, the style of The Decomposers can be defined simultaneously as psychedelic rock, intellectual underground, post-punk, soul, Gothic Rock, British garage rock. Musicians themselves use the term “industrial-psychedelic-symphonic-punk-Rasta-Goth formation.” Music critics find a variety of parallels and trends in the creations of the band: Mike Patton, Faith No More, The Birthday Party, Massive Attack and even The Doors. As a result, the band’s style looks pretty eclectic. Or, to be more precise, it is in constant development and fully reflects the experiments in different directions the musicians engage in.
As for their sound, here “depressive metal sound,” “evil, hacking, confused post-punk” intertwine; they are also combined with powerful, almost “animal” energy and “tortured theatricality.” However, as it has already been said, at this stage the vector is directed toward more positive and melodic music combined with lyrical and mesmerizing vocals.
Each of The Decomposers headlining appearances is a spectacular show with an original concept. This is why their concerts are “rare but right on the target” as they say: they are unprecedented by their power and they invariably cause a deep resonance.
Brief history of the band:

2005 – Pavel Bellyustin and Maxisualiy T’yrcoon start The Decomposers.
The legend has it that the historical encounter happened in a rehabilitation centre for patients who survived clinical death. At that time, both founders were already connected with the music industry, and the joint viewing of the video of the German band Einstuerzende Neubauten concert was the decisive impulse that led to the creation of the band.

The band also included guitarist Roman Oznobishin, drummer Alex “Mgonga” Myasnikov, cellist Maria Pozdnyakova, keyboardist Alexander Titov, and percussionist Konstantin Sidyakin.

2006 – the first album – Moans from Cesspits – comes out. It was recorded at the VinilTime Studio.
The name of the album is a reference to the name of Linda’s Songs of Tibet Lamas recording which rhymes with “Moans from Cesspits” when said in Russian.
The album received good reviews by music critics, some of which labelled it as belonging to Goth and progressive scene, while others referred to the band as an indie formation (at that time, the style was in its infancy in Russia); a video clip for Black Widow track was filmed by the Four Che Studio.

2008 – the second album – Double Penetration – comes out; it was recorded at the WildSound Studio owned by one of the band founders.
The album title was borrowed by the band members from heading lists at porn sites. The album ranked 25th in the Russian Afisha Magazine’s annual chart of best Russian albums.
The same year, the group underwent a radical change in its line-up and musical direction by deciding to abandon the cello and embrace funk-metal, trip-hop, soul, and arena rock sound.

2010 – The Decomposers perform a one-of-a-kind show – Adult Circus – in Moscow Circus at VDNkH combining their music with presentations of circus performers and animals. The advertising campaign in support of the concert was held on 15 popular Russian porn sites. As a result, the term “porn rock” appeared, and the group got a clinching reputation of outrageous provocateurs.

2012 – the third – long-expected — album comes out; it is entitled Bearded Chicks Cost Cheaper and was also recorded at the WildSound Studio.
The idea of the album appeared back in the Adult Circus time. Without any exaggeration, the album can be called the most colourful and expressive performance the band delivered to date. Here, in addition to Brazilian metal cropping up out of nowhere, critics noted the presence of “the same thickish smoke of eroticism” and “turn to a more powerful sound.”

The current line-up of the band is as follows: Paul Bellyustin — vocals; Anna Chekasina — vocals; Stanislav Butovskiy — guitar; Maxisualy T’yrcoon – bass; Evgeniy Lastochkin - sound; Vitaliy Katorgin – drums, Konstantin Polyakov – keyboards, Michael Bezymensky – percussion.

The band can also boast of its places in the first lines of such charts as garageband.com and noisehead.com.

In addition, the tireless band annually performs at music venues of different levels – from nightclubs to rock festivals. Thus, in July 2011, The Decomposers opened the quarter-finals of the Croc Rock rock festival organized by the Silver Rain radio station.

The musicians confess that they are happy to be engaged in charity in their spare time. For example, during the McHappy Day charity action (its purpose was to raise funds for orphans), the band worked behind the counter of McDonald networks in Moscow and St. Petersburg, being sellers and cashiers, along with the stars of show business.

Edited by The_Decomposers on 18 Apr 2013, 12:03

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