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 …"
Тоска
Аукцыон Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
На песчаннике своя тоска.
Желтый пыльный смех, желтая река,
Желтый дом для всех на века.
Эти башни и стены,
Бани, нацмены,
Люди и облака -
Ветер перемен, шаг не в пол-ноги,
Не для этих стен, а для других.
Yellow submarine, желтая тоска,
Желтый карантин - на века.
Эти головы, спины,
Запах машины,
Дети из далека -
Из песка.
В Багдаде все спокойно...
В Багдаде все спокойно...
Город из песка, длинная стена.
Стройка на века у нас одна.
Милые края, жизнь здесь так легка.
Желтые друзья на века.
Эти флаги и троны,
Трибуны, иконы
Сделаны из песка.
Тоска.
The song "Тоска" by the Russian rock band Аукцыон speaks about a city made of sand and the melancholy that comes with it. The first verse describes the city as being on a sandy foundation, where everyone has their own sadness to bear. The next verse mentions the yellow, dusty laughter, river and buildings that are all seemingly made of sand. The chorus then speaks of the wind of change not being for these walls, but perhaps for other more solid ones. The yellow quarantine is also mentioned, perhaps a reference to the current pandemic. The final verse describes the city as having a long wall and a construction to last forever, a place where life is easy and there are yellow friends to be found. The flags, thrones and icons are all also made of sand, which brings about the constant feeling of sadness.
The song seems to convey a feeling of transience, that everything is made of sand, and therefore will eventually crumble and fade away. The yellow color could be symbolic of caution, warning that this city is not meant to last forever. The chorus mentions the wind of change, which could be interpreted as the need for a change in mindset, to let go of attachments and embrace impermanence.
Line by Line Meaning
Город на песке, город из песка.
The city is built on sand, and therefore it is vulnerable to damage and destruction.
На песчаннике своя тоска.
Living in this city can lead to a feeling of melancholy and sadness.
Желтый пыльный смех, желтая река,
The environment is filled with yellow dust and pollution; there is no escape from it.
Желтый дом для всех на века.
There is a sense of permanence to the buildings and structures, but they are all made of sand and therefore fragile.
Эти башни и стены,
The buildings are tall and imposing.
Бани, нацмены,
There are public baths and military checkpoints, a reminder of the oppressive regime.
Люди и облака -
The people and clouds move across the sky, but everything is fleeting and temporary.
Из песка.
All of it is made of sand.
Ветер перемен, шаг не в пол-ноги,
There is wind blowing, but people can't run as fast as they would like.
Не для этих стен, а для других.
The wind is blowing for a different purpose, not to please the sand walls.
Yellow submarine, желтая тоска,
There is a sense of being trapped in a yellow submarine, unable to escape the melancholy that pervades everything.
Желтый карантин - на века.
The quarantine imposed on the city is seemingly never-ending.
Эти головы, спины,
People's heads and backs are visible as they move about their business.
Запах машины,
The smell of pollution from cars fills the air.
Дети из далека -
Children come to the city from far away places, seeking something that isn't here.
Из песка.
All of them are made of sand, easily broken and blown away.
В Багдаде все спокойно...
The people hold onto this myth of Baghdad being a peaceful place, but the reality is far from it.
В Багдаде все спокойно...
The refrain continues, emphasizing the illusion of peace in a city that is anything but peaceful.
Город из песка, длинная стена.
The city is walled in on itself, its fragility exposed by the sand it is built on.
Стройка на века у нас одна.
The construction of the city seems to be an ongoing process, never complete, but always being built or rebuilt.
Милые края, жизнь здесь так легка.
The land is beautiful, but the people's lives are hard and difficult.
Желтые друзья на века.
The people have formed a bond with each other, perhaps in response to the harsh conditions they face in the city.
Эти флаги и троны,
There are symbols of power and authority, but they are also made of sand and easily broken.
Трибуны, иконы
There are political and religious structures that are also fragile and susceptible to destruction.
Сделаны из песка.
All of it is made of sand, and the people are constantly reminded of the impermanence of their society.
Тоска.
The pervasive sadness and melancholy that seems to hang over everything in the city.
Contributed by Lily T. Suggest a correction in the comments below.
константин васин
Российская действительность в одной песне
Алексей Боголюбов
Воздух из надутого нефтью, газом и металлами шарика потихоньку выходит, резиночка изнашивается с ускорением.
drag2734
@OLLE OLLE У них наверное было две мировых войны и революция, а потом крах социализма? Я бы посмотрел на них после всех этих катаклизмов. Не надо сравнивать то, что сравнить нельзя. На их дома бомбы не падали и страна их в руинах трижды не лежала.
OLLE OLLE
@drag2734 На досуге почитайте про Канаду, расскажите им про климат и размеры))) Только вот в добавок ко всему там и населения в 5 раз меньше, но как то удалось... Чудо наверное произошло))) Эх, вот такого бы президента им, как Путин... В общем все ясно, продолжать дискуссию не вижу смысла.
drag2734
@OLLE OLLE Ну во первых - не только с 90-ми. Никогда в России простой народ так не жил богато, как сейчас. Это факт - ни при царях, ни в СССР. Два - с кем сравнивать? С западом? Ну так ни одна страна мира не поимела столько потрясений в 20-м веке, как Россия. Лучше жить могли бы? Если бы не Путин?)))) За счет чего? За счет нефти и газа? Вы наивный. Во первых - этих денег было бы достаточно, только если бы Россия была маленькой страной по площади и климат был бы более умеренный. Производство надо развивать! И оно развивается, хотя и не такими темпами, как в Китае. И не забывайте - мы ВСЕГДА были и будем под санкциями. Просто потому, что нас боятся и когда смотрят на наши размеры - сруться от страха. Они никогда не позволят, если это в их силах быть нам в лидерах экономики. Хотя и сейчас их положение не намного лучше, чем у нас. Если вы считаете их долларовые зарплаты, то посчитайте и их расходы. А для убедительности, что нельзя сравнивать их и нашу жизнь в долларах - посмотрите индекс Биг-Мака. Он очень хорошо показывает, насколько недооценен рубль - и это тоже из-за санкций.
OLLE OLLE
@drag2734 Ну если сравнивать с 90ми годами, как любит это делать большинство, то да, лучше. Но не лучше, чем весь цивилизованный мир, при чем те страны, где нет нефти, газа, леса и прочих полезных ресурсов. Россия страна с огромным потенциалом и возможностями, мы бы могли жить лучше, чем богатые европейские страны, но увы, пока диктатура и милитаризм будут процветать, наши пенсионеры и далее будут получать 200 долларов пенсию, из которых 100 коммуналка. Попробуйте опровергнуть?