АукцЫон (Auktyon) is a Russian avant-garde rock band. The band draws its in… Read Full Bio ↴АукцЫон (Auktyon) is a Russian avant-garde rock band. The band draws its inspiration from such remote sources as ska, reggae, new-jazz, ethnic music of North Africa and Middle East, beat- and pop-music of the 1960s.

In different forms and under different names, the group exists approximately since 1978, however, its current name, Auktyon received only in May of 1983, when it was granted a membership in the Leningrad Rock Club, and its present appearance, style, and core musicians were formed in spring of 1986, when the group was triumphant on the stage of the 4th Leningrad Rock Club Festival in the following line up: Leonid Fedorov (guitar, vocal), Oleg Garkusha (dance, vocal), Sergei Rogozhin (vocal), Victor Bondarik (bass), Dmitriy Ozerskiy (keyboards, vocal), Nikolai Rubanov (saxophone, flutes), Nikolai Fedorovich (saxophone), and Igor Cheridnik (drums). In one year, Auktyon was repeatedly successful in the 5th festival, after which Sergei Rogozhin left the group for the pop-band FORUM, while the percussionist Pavel Litvinov strengthened the rhythm section. The second guitarist - Dmitriy Matkovksiy from the cult band of the early 80's MANUFAKTURA - joined Auktyon that fall. During that period, the group attained acknowledgement on the scale of the whole country, performing at the rock-festivals in Kiev, Ekaterinburg, Vilnyus ("Lituanika-8"), and taking part in the cultural program of Moscow International Film Festival.

In 1988 Auktyon recorded an album "Return to Sorrento", which has not been professionally released until now; Igor Cherednik, who left for IGRY, was replaced by a hard-rock drummer Boris Shaveinikov; and the visual image of the group had acquired a new quality, when a gifted dancer Vladimir Veselkin joined the group. A significant role in formation of the image of Auktyon during this period was played by a famous avant-garde artist from St. Petersburg Kirill Miller, who was responsible for the covers of the first albums: in particular "How I Became a Traitor" (1989), released in France by Voyla Productions, and "All Quiet in Baghdad" (1990), recorded in Russia at "Melodiya".

In 1990 Auktyon took part in grandiose ecological action "Rock of Clear Water", and along with other participants went down the river Volga, giving concerts in Volga cities.

From the late 80's Auktyon began to regularly travel to Europe: in the last ten years they have had several hundred concerts in France, Germany, Denmark, Switzerland, Austria, Holland, and Czech Republic. In the 90's new work continues to appear: "Asshole" (Erio, 1990), "Hangover" (SNC, 1991), "Bird" (Dyadyushka Records, 1994), "Best Of" (SNC, 1996). Furthermore, Auktyon discography also contains two collaborations with the Parisian artist, poet, and bard Aleksey Khvostenko: "Teapot of Wine" (1992) and "Mountaintop Dweller" (SNC, 1995 - based on the verses of the poet and language reformer Velemir Khlebnikov).

After the period of relative stability, in May of 1992, Vladimir Veselkin left Auktyon, who began a relatively successful solo career (in 1991 his album "Impossible Love" was released by FeeLee), and in November of 1995, Dmitriy Matkovskiy has played his last concert with the group. Almost at the same time Auktyon has invited a tuba player Mikhail Kolovskiy. The main creative force of the group - guitarist and singer Leonid Fedorov. His songs (which are usually written to the lyrics of the colleagues - Dmitriy Ozerskiy and Oleg Garkusha) have a characteristic melodic language, in which jazz and ethnic intonations neighbor with a straightforward "hit"-like key phrases, and where the rhythm allows you to stretch the most "unfit for the voice" phases.

In 2007 an Auktyon's album "Devushki Poyut" (released in English language countries as "Girls Sing") of was released. It was recorded just in a few days in USA with participation of Marc Ribot (worked with John Zorn, Marianne Faithfull, Tom Waits and more) on guitar, John Medeski on keyboards, Frank London on trumpet, Ned Rothenberg on sax, Vladimir Volkov (Владимир Волков) on contrabass.

For the extent of its biography, the group appeared in various films and documentaries: "Burglar" (Lenfilm, 1986), "Half-Official"(Germany, 1987), "Rock" (LSDF, 1987), "Let's rock-n-roll!"(Germany, 1988). The main movie star of Auktyon is Oleg Garkusha, who played in "Presumption of Innocence" (1998), and "Khrustalev! Get the car!" (1996). He regularly appears and reads his poetry and is an author of two collections of poems.

The many-sided and experienced musicians, the members of Auktyon regularly participate in recordings and multiple projects - Rubanov and Litvinov together and separately played in JUNGLE, ADDIS-ABEBA, MARKSCHEIDER KUNST; Rubanov played in BEES AND THE HELICOPTER, TIME TO LOVE, and METAMORPHOSIS; Kolovskiy and Rubanov play in Z-ENSEMBLE and UNION OF COMMERCIAL AVANTGARDE; Fedorov played and recorded with Nizhniy-Novgorod bard Aleksey "Colonel" Khrynov; Shaveinikov played with Yuri Naumov, TIME TO LOVE, and METAMORPHOSIS; Matkovskiy recorded a series of albums of his minimalist experiments called "Hunting of …"

День победы
Аукцыон Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Кто это я
Много ли я возьму?
На груди меня День Победы!

С кем это я
Должен ли я кому?
Ей, ей, ей, ему!

Где это я
В сердце ли я кому?
Чтобы мне бы, у, День Победы!

Как это я
Жаль себя самому
Где ты, где ты, я?

Хочется, хочется черную смелую женщину
В День Победы

Хочется, хочется черную смелую женщину
В День Победы

Хочется, хочется черную смелую женщину
В День Победы хочется, хочется

Overall Meaning

The song "День Победы" by Аукцыон (Auktyon) is a reflective and emotional piece that speaks to the emotional complexities surrounding the celebration of Victory Day in Russia. The lyrics explore themes of identity, loneliness, and desire, all within the context of this important national holiday. The opening lines "Кто это я, Много ли я возьму, На груди меня День Победы!" suggest a sense of confusion and uncertainty about what this day truly means to the singer. The repetition of the phrase "День Победы" serves as a reminder of the significance of this day and the weight it carries.

The following lines add to the complexity of the emotions associated with this day. The singer is unsure of who they are, who they are supposed to be with, and whether they are truly happy. The repeated phrase "её, её, её, ему" suggests that there is a sense of longing and perhaps even jealousy towards those who are able to share this holiday with someone special. The lines "Жаль себя самому, Где ты, где ты, я?" highlight again a sense of loneliness and isolation, despite the national celebrations taking place around them.

The final lines of the song introduce the desire for a "black brave woman" on Victory Day, suggesting a desire for a connection and companionship on this day of celebration that has been left unsatisfied. Overall, the song "День Победы" is a poignant reminder that amidst the mass national celebrations, we must not forget the individual emotional journeys that are taking place.

Line by Line Meaning

Кто это я
Who am I?

Много ли я возьму?
How much can I achieve?

На груди меня День Победы!
I wear Victory Day on my chest!

С кем это я
With whom am I?

Должен ли я кому?
Do I owe anything to anyone?

Ей, ей, ей, ему!
Her, her, her, or him!

Где это я
Where am I?

В сердце ли я кому?
Do I have a place in someone's heart?

Чтобы мне бы, у, День Победы!
So I can also have Victory Day!

Как это я
How am I?

Жаль себя самому
I pity myself