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 …"
Слова
Аукцыон Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Едва, едва
И там, и всем
Совсем, совсем.
Сам прощён
А где ещё?
И так везде и всё за всё про всё.
Ля-ля, ля-ля
А там вдали
Мы не были.
В той дали
Дрожал в пыли.
И так везде и всё за всё про всё.
The lyrics to Аукцыон's song Слова are reflecting on the limitedness of words and their ability to convey complex emotions and experiences. The repetition of the words "слова" (words) and "едва" (barely) create a sense of minimalism and inadequacy in language. The line "И так везде и всё за всё про всё" (And so it is everywhere, and everything is about everything) suggests a sense of overwhelmingness and interconnectedness in the world. The phrase "Ля-ля, ля-ля" in the second stanza adds to the abstractness and musicality of the song.
The second half of the song introduces imagery of "земля" (earth) and a distant place where the singer has not been. The line "Дрожал в пыли" (Trembling in dust) suggests a sense of unease or instability in this far-off place. The repetition of the previous line "И так везде и всё за всё про всё" connects these distant, unknown places with the rest of the world and the overwhelming interconnectedness mentioned earlier.
Overall, the song Слова explores the limitations of language and the vastness of the interconnected world, leaving the listener with a sense of unease and abstract imagery.
Line by Line Meaning
Слова, слова
Words, words.
Едва, едва
Barely, barely.
И там, и всем
And there, and to everyone.
Совсем, совсем.
Completely, completely.
Сам прощён
Forgiven himself.
А где ещё?
But where else?
И так везде и всё за всё про всё.
And so everywhere, and everything is about everything for everything.
И вот земля
And here is the earth.
Ля-ля, ля-ля
La-la, la-la.
А там вдали
But in the distance.
Мы не были.
We haven't been there.
В той дали
In that faraway place.
Дрожал в пыли.
Trembling in the dust.
И так везде и всё за всё про всё.
And so everywhere, and everything is about everything for everything.
Contributed by Kennedy Y. Suggest a correction in the comments below.
@user-adise
Больше 27000 просмотров и только 9 коментов? Это АУКЦИОН!!!! Не каждому дано такое слушать!!!
@Burich4021
Психоделика не просто музыка, это состояние Души!
@user-jc3om5yr7n
С ума сойти! Сознания чистым космосом я бы это назвал. Просто уносит! Гениально....
@user-dv3op4el8h
как же это здорово!!
@user-db6qe8ki1r
энергия в чистом виде , уххххх!!!!
@user-qf5el9ux5f
Шедевр!!!!
@user-sx3st1rc8p
Браво!
@user-ev3kt8yf8k
Такая хаотичная гармония...
@simeonkrivoshiev6077
OIoi Oi oi. I can't believe this concert.....
@soldjaskng
Слова-слова едва-едва
И там и всем совсем-совсем
Сам прощён, а где ещё?
И так везде и всё за всё про всё
И вот земля, ля-ля ля-ля
И там и всем за всех за всех
В той дали дрожал в пыли
И так везде за всё про всё.