Photographer: Konstantin Kondrouknov

Launched in 2015 as a showcase of Russian independent rock, Bol festival has become one of the main summer events in Moscow. Featuring the brightest Russian and international underground musicians, the three-day festival will be held between 5 - 7 July 2019 in Cultural Centre ZIL, Moscow’s first cultural centre and a constructivism monument. As part of the UK - Russia Year of Music, three UK artists performed at the festival, and all of them are tipped as future stars: Warmduscher, Black Midi and Sophie.


Dirty riffs, corrupt rhythms, obscene lyrics, ambivalent humour and ruckus on stage: that’s how Warmduscher sees the essence of rock & roll. Journalists have called them the most reckless musicians of the London guitar underground. Despite hiding behind incredulous pseudonyms that could fit dealers and pimps from 70s blaxploitation films, the band are already well-known on the British rock scene. Many of them have links to the other known London troublemakers, the Fat White Family band, who profess comparable musical values.

Warmduscher emerged in 2014 as a joke: having jammed at a New Year party, they got carried away and now feature in major festival line-ups. Their latest album, Whale City(released summer 2018) is an odyssey through Sin City, that dangerous area of any megalopolis. Warmduscher are attracted to life at rock bottom, biographies of notorious villains and their victims who they romanticize with their catchy and bold music. Mixing funk, soul and disco rhythms in one salad, and seasoning it with wheezing guitars and punk vocals, the band has earned the reputation of a collective that does not leave anyone indifferent to their performances. Many current rockers have forgotten that rock and roll is not about business or work, and Warmduscher have to party hard for everybody else.

Black Midi

Pitchfork has ingeniously nicknamed the Black Midi quartet the favourite band of your favourite band. In 2018, all of London was discussing the four youngsters, zealously and deafeningly playing hard rock, while the band still didn’t have a single or a web-page. On the other hand, they regularly played explosive concerts at the famous Windmill pub in Brixton, and rather quickly became the centre of rock underground hype in South London, opening for performances of established stars, Shame and Goat Girl.

Vocalist Geordie Greep, guitarist Matt Kelvin, bass guitarist Cameron Picton and drummer Morgan Simpson met at college, the same alma mater of pop stars Amy Winehouse, Adele and The Kooks. They were united by love for the different in music: dark post-punk, schizoid math-rock and fierce noise, love for Talking Heads, The Fall and Sonic Youth. The friends got together to look for their own style at the intersection of these interests. And they found it: Black Midi’s debut single is called bmbmbmbm - Boom Boom Boom Boom - which perfectly describes the band's approach to recordings and performances. Not so long ago, Black Midi created a Facebook page and signed a contract with London indie label Rough Trade, and in spring and summer 2019 they will do their first world tour, including Bol festival. With this, their story is just beginning.


The debut album of Scottish singer, producer and DJ Sophie, Oil of Every Pearl's Un-Insides, released in 2018, was nominated for 2019 Grammy as Best Dance / Electronic Album. Taking her place beside other nominees French Electro stars Justice and the UK’s John Hopkins, this achievement shows that she has found her seat amongst the greats in the scene. Emerging in 2013 with surrealistic electronics, oscillating between irresistible obsession and brutal cacophony, Sophie has earned an exceptional reputation and has become a sought-after producer, working on the pop anthems of Charlie XCX and Madonna. Oil of Every Pearl's Un-Insides is influenced by everything in the modern mainstream, from EDM to trap, and magnifies them a hundred times, finely chopping and mixing them into a futuristic meta-style that is both hypnotizing and frightening. When writing and speaking, Sophie persistently tries to cross the border beyond which a person, tempered by life in a post-information society, is confused in their perception of reality.

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