Rock band ROMISLOKUS - Official web-site. Source of new rock music with free mp3 downloads. Music lyrics, music video, reviews and interviews of the band
Russian rock band ROMISLOKUS - Official web-site. Source of new rock music with free mp3 downloads. Music lyrics, music video, reviews and interviews of the band
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Official web-site of russian prog rock band Romislokus: new rock music, free mp3 downloads, music lyrics, free music video, live concerts, reviews and interviews of the band

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Music review from FUZZ magazine for album 'Between Two Mirrors' (in Russian)

Music review from FUZZ magazine for album

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?? '????????' ????? ???????? ???????, ????????? ??????????? ? ???????? ???????????? ??????????? ? ????????????? ????????????? ?????????. ???????? ???????? ?? ???????? '??????????', ? ??????????? ???? ?? ??????????, ? ????? '??? ?????', ???????????? ??????? KING CRIMSON ? ??????? PINK FLOYD ??-?? ???????? ?????? ?-?? 'Run Like Hell'. ?????? ???????? ??????? ??????????? ????? ????????????: ??? ? ??????? ? ???? ??????? ??? ?? ?????????? ? ????? '?????', ? ???????? ?-?? DEPECHE MODE ? '?????????', ? ????? ??????????? ?????? ? ?????????? '?????? ??????'. ???????? ? ????? ????? ???????????? ?????? ???????? ???????????? ?????? ???? ??????????? ? ?? ???????? ???? ?? ???????? ?????????? ? ????????????? ????? ????????????? ??????????? ????????.
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August, 2001.

Georgiy Huroshwily

Music review from Progressiveears for album 'Vinyl Spring, Digital Autumn' (in English)

Music review from Progressiveears for album

Romislokus is:
Evgeniy Gorelov- Keyboards
Mikhail Voronov- Guitars
Yuri Smolnikov- Guitars, Vocals, Lyrics
Dmitriy Shelemetev- Drums
Maksim Karavaev- Computers
Mikhail brovarnik- Bass
Irina Unakovskaya- Cello
Anna Goya- Violin, Vocals
Romislokus- Vinyl Spring Digital Autumn. The new CD from Russian proggers, Romislokus. This band is excellent at fusing the acoustic and electronic sides of music. Guitars, bass, drums, cello & violin played over electronic soundscapes created by computers and keyboards. All the vocals are in Russian. I have no idea what Yuri Smolnikov is singing about, but it doesn’t matter. He sings great, with rich, low tones and a nice delivery. All the musicians are quite capable and play more as an ensemble rather than having any particular instrument to stand out front. The computer is also a major part of the sound. Maksim Karavaev using it to create glistening, hypnotic, trancelike backgrounds that are both dense and mesmerizing. The cellos and violins played against these electronic elements, brings their acoustic natures to the fore and is musically, very nice. Vinyl Spring Digital Autumn will appeal to lovers of ambient, electronic and progressive music. Romislokus reminds me of everything from Fripp, Belew, U2, and Dire Straits, to Brian Eno, Pink Floyd, Tangerine Dream and Klaus Schulze. Well crafted songs from a gifted group of Russian musicians. This CD is impressive enough that I also want to check out their 2001 release, Between Two Mirrors. I hear good things about that too. Having now heard Vinyl Spring Digital Autumn, I believe every word.

July, 2002.


Music review from Joe Records for album 'Vinyl Spring, Digital Autumn' (in English)

Music review from Joe Records for album

Vinyl Spring/Digital Autumn
Following their critically acclaimed 2001 debut, Between Two Mirrors, the Moscow based progressive rock group Romislokus return with an equally impressive follow-up, Vinyl Spring/ Digital Autumn.
Romislokus began in 1998 as a project of likeminded musicians in Russia who were interested in exploring the boundaries of 'art rock'. Blending organic and inorganic sounds such as cello and violin amongst electric guitars and synthesizers provides Romislokus with a unique, yet familiar sound. Though heavily influenced by such other experimental bands as Pink Floyd, pre 'And Then There Were Three' Genesis and post 'Rubber Soul' Beatles, the Moscow group successfully combines past stimuli with 21st century recording techniques.
For the most part, Vinyl Spring/Digital Autumn is laid-back and inviting as Romislokus creates melodic soundscapes. Even though vocalist/rhythm guitarist Yuri Smolnikov sings each song entirely in Russian with a haunting resonance, the record is so musically entrancing it is able to cross cultures without the dialect becoming a distraction. On tracks such as 'The Snow On The Rails', Romislokus embraces the technologically advances that were not available to their predecessors and go with an entirely electronic sound. 'The Face of the City' combines unobtrusive cello parts with moody guitar fills. Although '78' begins as an ambient journey, the band interjects a heavy rock guitar explosion. Violinist Anna Goya takes the spotlight with her lush vocals on the housey track 'Tuner'. Goya's vocals again resurface with Yuri on the ambient, Russian spoken-word piece 'Substance'.
Romislokus's has an obvious affinity for 70's progressive rock bands such as Yes, Alan Parsons Project and The Moody Blues, with an equal admiration for contemporary acts such as the Orb, Moby, and Meat Beat Manifesto. This band from Mother Russia successfully combines symphonic arrangements while blending textures of acoustic and artificial instrumentation to create a gratifying listening experience.

July, 2002.

Tony Engelhart

Music review from Progressive for album 'Between Two Mirrors' (in English)

Music review from Progressive for album

Romislokus are Russian band who create a very moody, sometimes dark music... if the truth be told, aside from the occasionally energetic arrangements, this is a very, very dreary album, all presented in a very understated manner. Aside from the rather cold sounds of the programmed drums, the instrumentation is often warm, and often sounds both like Marillion and mid-to-late period Icehouse, but mostly I'd say that Romislokus sound like Dire Straits. All of which results in something that I'd call progressive dance, except that I'm sure that term has already been appropriated by some corner of the progressive music world, or even co-opted by some genre that wouldn't ordinary come under the scope of this site... not to belabor the point, of course. If you are at all familiar with either of those bands, and can throw a bit of Pink Floyd into the mix, and a bit of country, you'll have a good idea of what to expect.
Specifically, let me mention a few tracks. The opening track, 'Cold,' sounds like what Pink Floyd would be creating, having reached the dark side of the moon - that is, it's a little otherworldly and spacey. There are some electronic tones that appear sporadically that recall the X-Files theme. 'The Wood Cutter' picks up the pace, with an almost dance-like rhythm; something that is picked up on 'The Thunderstorm Is Coming,' which also has a bit of country twang to it. It was with the former track that I thought of Icehouse. While the programmed drums allow for the creation of unique percussive sounds, here they are too obviously programmed -- though it seems real drums appear on the last two pieces, 'Minute' and 'Jackdaws.' 'The Mist' is a jazzy piece, that is very in line with what one might expect from, if not Dire Straits (circa Brother In Arms), then Knopfler solo. I can't see much of a sonic difference here with a real drummer, however. It continues in a country twang, has, at one point, spiraling keyboard effects that sound right out of 'Cannibal Surf Babe,' (again Marillion, but then I'm sure they were inspired by some 60s source themselves), but is delivered in an understated, almost dreary manner. The flute like tones here recall many a new age piece, and if it weren't for the darker, rounded, bass tones, would seem a little light. 'Through The Love' is somewhat Marillion-esque musically.
Two vocalists are mentioned, Evgeniy Gorelov (keyboards) and Yuriy Smolnikov (rhythm guitar), but I'm not sure which vocalist's singing lead -- other reviews of this and of their second album, mention Yuriy, so... Yuriy's style is an amalgam of mainly Bob Dylan and Mark Knopfler, and with a dash of Roger Waters here and there. 'Three Colors,' which closes the album, shows the deep bottom end of Gorelov's range. Almost Barry White deep, but not as seductive (nor intending to be). Those vocals are, by the way, sung in Russian. The lyrics aren't included, but are available in both languages at their website.
As mentioned, the band have a second release out, Vinyl Spring, Digital Autumn, which is getting good notices. While Between Two Mirrors is not the most exciting album I've heard, neither is it intended to be. The vocals do seem to be much moodier than the music, and this isn't always for the betterment of the particular track, but Romislokus aren't a bad band either. I think I'm most put off by the programmed drums, but they're not something that would keep from listening to this again. I think that they achieve the sonic effect the band were looking for.
More about Between Two Mirrors:
Track Listing: Cold (4:20) / The Wood Cutter (3:14) / Give A Chance (2:41) / Through The Love (2:48) / The Thunderstorm Is Coming (4:53) / The Mist (4:11) / Termites (6:00) / Minute (3:55) / Jackdaws (4:21) / Three Colors (6:55)
Evgeniy Gorelov - keyboards, vocals
Irina Yunakovskaya -cello
Mihail Voronov - solo-guitars Mijail Brovarnik - bass
Yuriy Smolnikov - rhythm guitar, vocals
Inna Galasheva - drums (8, 9)
Maksim Karavaev - computer effects (10)

June, 2002.

Stephanie Sollow

Music review from Music Street Journal for album 'Vinyl Spring, Digital Autumn' (in English)

Music review from Music Street Journal for album

Break out the Borsht and pour the vodka, Russian prog has come to the music scene. Romislokus is a project based in Moscow and their album was recently released. Since I have always had a fascination with the Russian people and culture, I looked forward to hearing Romislokus with definite anticipation.
The CD was not quite what I expected, but this surprise was not a bad thing. The music is a bit on the low-key side. Don?t expect massive flourishes of keys or guitar solos. Instead, look forward to atmospheric tones and a style that is somewhat of a techno take on prog. This music shares a lot with that of Kraftwerk, but it also has moments that call to mind Marillion, Hawkwind, Lands End and Genesis. Still, it is all combined into a very original motif. The Russian lyrics make it a bit hard for an English speaker like myself to fully grasp the material, but still, the music does grab you.
The Snow of the Rails: An ambient, almost techno texture takes this cut up to the verse, a balladic and dramatic one. Waves of keys wash over, and I don?t know why but it feels a little like Kraftwerk meets Marillion (Hogarth era). The intensity increases after a time, just building on the same structures.
The Face of A City: Beginning with more organic prog ballad tones, a pretty melody line quickly ensues. This one changes to a more straightforward, fairly hard rocking jam after a time. It gets rather powerful in its alternating modes. The arrangement also gets quite lush with strong neo-classical tones for a time.
78: An acoustic guitar bouncing about starts this, and dramatic washes of keys overlay it. The track begins a building process in a very dramatic and somewhat off-kilter mode before dropping back to atmospheric tones with vocals overlaid. This one also moves into melody lines that feel like traditional Russian music. It is quite an interesting composition with a lot of changes. It turns to a playful style that seems a bit like classic Genesis for a time. Potent keys take over temporarily. A dynamic one, this covers a lot of ground.
Absolute Control: Hawkwindesque tones start this one off. Then a slightly mysterious and vaguely dark melody takes over, building on what came before. The ghost of Kraftwerk again makes an appearance on this piece. This is another does a good amount of building and expanding. It shifts gear late to a rather neo-classical and melancholy type of texture. A new keyboard based melody ensues from there to end the piece.
It Is Winter: A great melodic segment opens this number. Then the track shifts to a more contemplative and fairly classically oriented melody line. It integrates those two modes, building upon them in fine fashion.
Miss The Target: Weird keyboard textures are the first sounds we hear on this cut, for about the first minute or so. Then the first semblance of melody emerges and begins building very slowly into a pretty, somewhat moody number that feels a bit like Hogarth era Marillion.
A Tree By The Wall: More atmospheric tones start this one, and a balladic style that falls somewhere between contemplative and playful carries it on. It finally seems to choose the contemplative end as it drops to the verse. As the instrumental break ensues, the cut switches to a surprisingly entertaining piece of chaos. The jam that comes out of that chaos and takes the composition to its conclusion is especially effective.
Tuner: This is a fun techno based foray that calls to mind Kraftwerk more than anything else presented here. It also feels a bit like Herbie Hancock?s journeys into electronic music. The somewhat R & B oriented female vocals add another interesting element to an already intriguing song.
Substance: A bit weird, this one has a great classical overtone to the powerful melodic strains that start the piece. It sounds like a poetry reading over a sedate melody before shifting to a segment of female vocals and dramatic string section that serves as the outro.
Smoke: Percussion starts this. The keys and bass join in, and a balladic prog melody eventually emerges. The cut begins building on that format after a time. It then shifts to a jazzy sort of jam that feels a bit like Lands End for a time. The arrangement takes on a triumphant texture occasionally and gets a bit more lush than most of the material presented here.

June, 2002.

Gary Hill



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