# Srub

Srub (Russian: Сруб, lit. 'log cabin') is a Russian post-punk/dark folk band founded in the spring of 2013 in Novosibirsk.
The group gained recognition for its unique fusion of genres: their music blends the gloomy energy of post-punk, the icy atmosphere of coldwave, and the melancholy of neofolk with elements of Russian folk, progressive rock, and even post-black metal. The band’s lyrics, written exclusively in Russian, explore themes of mysticism, natural imagery, dual faith (the coexistence of pagan and Christian traditions), and abstract archaic ritual symbolism. These elements enhance their musical experiments, which straddle underground and ethnic influences. This distinctive style has established "Srub" as one of the most striking phenomena in Russia’s modern alternative scene, capturing "that atmosphere listeners have sought in contemporary domestic artists.".

## Creative Legacy: Musical Style, Concept, and Themes

"Srub" immediately established itself through an unconventional fusion of genres. The foundation of their sound is post-punk (Shapransky acknowledges this genre as the core of the band’s identity), yet the group boldly transcends its boundaries. Many songs feature instruments atypical for post-punk: bowed strings, flute, accordion, folk gusli (a traditional zither-like instrument), and even elements like church bell chimes in certain tracks. This imbues their compositions with an ethnic flair. Early releases also showcased coldwave’s icy synth textures, the bleak monotony of doom metal, and dark folk’s ritualistic intonations. In later works, the band experimented with heavier tones—even incorporating black metal-style screams and “dirty” guitar distortion. However, the musicians prioritize atmosphere and imagery that evoke specific emotional states over genre conventions. Critics often describe their songs as a "soundtrack to primeval forests and ancient rites," emphasizing "chthonic rawness, gloom, and paganism" as key stylistic descriptors. At its core, Srub’s artistry is old-school post-punk interwoven with incantation-like songs, dirges, and spells that expose the hidden underbelly of Slavic existence, rooted in the darkness of centuries. Reviewers argue that such a symbiosis had no precedent and remains unmatched, cementing the band’s uniqueness.
Srub’s lyrical approach also sets it apart from genre peers. Lyrics are written exclusively in Russian—a deliberate stance by Igor Shapransky, who believes only native speakers can fully grasp the cultural and atmospheric nuances embedded in the imagery:
   "For me, 'Srub' isn’t about stories of crazed devils. It is the devils. And if a foreigner, for instance, hasn’t wandered through overgrown paths in the twilight, they’ll never truly see those devils in the music. But those who do see them - they can express themselves perfectly well in Russian. I’m sure of it. It’s like country music in Russian. To me, it’s unthinkable. Impossible."
The lyrics of the songs evoke the dark, mystical side of Russian nature and the collective subconscious: it is a world of forest spirits, devils, and otherworldly forces that humans encounter. At the same time, the band members strive to avoid straightforward folklorism or direct references to specific mythological figures, focusing instead on more abstract, nameless imagery. The only folkloric character that frequently appears explicitly is the chert (devil), which has become a kind of "mascot" for the group, hinting that their songs are not retellings of fairy tales but rather immersions into the very essence of dark forces. Many lyrics are saturated with pagan, occult symbols and archetypes. The formation of this aesthetic was influenced by Igor Shapransky’s personal interests: since childhood, he has been fascinated by the symbolist poetry of Alexander Blok, a passion instilled in him by his literature teacher. This is why the band’s songs are filled with imagery of the sacred, mystical signs, and a ritualistic atmosphere. Another source of inspiration is the Siberian wilderness itself—the untamed spirit of the native forests and steppes fuels the musicians’ imagination. Thus, the lyrics synthesize literary symbolism and folk paganism, expressed through a modern lens.
Despite its originality, "Srub" has absorbed a range of influences from both foreign and domestic music. Igor Shapransky notes that, in addition to post-punk, their sound has been shaped by 1980s synth-pop, doom metal, early gothic rock, and late Soviet rock culture. Among his favorite Russian bands, he highlights Utro (a side project of Motorama), the Siberian folk-rock ensemble Kalinov Most, and the Leningrad rock legend Alisa. Indeed, some critics draw parallels between "Srub" and the early work of Alisa—the same "dark side" of the familiar world, an attempt to view Russian reality through the prism of myths and legends. Foreign reviewers have noted similarities between "Srub’s" mood and classic gothic rock: for instance, the portal Noisey (VICE) highlighted the Novosibirsk group’s ability to "perfectly blend the iconography of Slavic pagan mysticism with a musical side inspired by Bauhaus and Joy Division". Such comparisons help contextualize "Srub" as standing at the intersection of Western post-punk tradition and Eastern European (Siberian) spiritual essence. The band is also noted for its deep connection to the so-called "native soil" aesthetic: "Srub’s" music is perceived as deeply rooted in Russian culture and history. This resonates with listeners who are disenchanted with Western imitations—in fact, "Srub" has filled a demand for an authentic Russian sound in alternative music, "hitting the mark" with audience expectations. The fusion of ancient and modern, paganism and rock, makes the band’s work a subject of interest for both music enthusiasts and researchers of musical culture.

## History
### Formation. 2013

Little is known about the band’s formation: it emerged in the spring of 2013 in Novosibirsk when multi-instrumentalist Igor Shapransky and bassist Stanislav Kulikov, who had previously played in heavier music projects—including the local post-punk/black metal band Kultura Kureniya—joined forces for a new musical experiment. This background influenced the initial mood of the collective.
In June 2013, the musicians released their first collaborative work—the EP "Po griby" ("For Mushrooms"). The release caught the attention of the local audience with its "homespun" atmosphere, where Shapransky’s raw vocals blended with dark guitar riffs and lyrics about "hopeless Russian death." In November of the same year, the magazine Afisha described the band’s style:
   "Homespun rock - that’s roughly how you could describe their style. Boldness and grandeur here go hand in hand with a peculiar humility, and hot blood with detachment. Behind the initial impression that this is just another post-punk band with vocals seemingly rising from the depths, there’s definitely something more."

### The 2014–2016 Period

In January 2014, the band held its first acoustic concert in Novosibirsk, featuring guest musicians, including guitarist Konstantin Pritychenko, who joined the group at that time. Despite the modest lineup, the performance stood out for its atmospheric quality.
In March 2014, Srub released their debut full-length album "Srub".
That same year, the band gained international attention, with one of their tracks "Len" ("Laziness") included on a compilation celebrating the 10th anniversary of the Polish label Bunkier Productions.
Srub's music resonated not only in their homeland but also abroad—by 2014, the band began receiving invitations to major festivals and concerts outside Russia.
Bassist Stanislav Kulikov left the project for personal reasons. However, in an August interview, when asked about upcoming electric performances, Igor Shapransky stated: "…our Srub is ready. The concerts will happen", hinting at new members joining and the start of live performances.
In November 2014, designer and photographer Gosha Rubchinskiy traveled to Novosibirsk to shoot the cover of Afisha magazine featuring the band, accompanied by an interview titled "In Search of the Russian Soul" (Issue No. 380).
By the end of 2014, Srub had gained recognition not only in their home region but beyond.
In 2015, Rossiyskaya Gazeta dubbed Srub the brightest representative of the new wave of Siberian rock music, while the American youth magazine Vice mentioned them in an article about the new generation of Russian indie artists, noting the band’s ability to blend pagan aesthetics with possible influences from British bands like Bauhaus and Joy Division.
In the summer of 2015, concert promoter Stepan Kazaryan organized his first festival "Bol" ("Pain") in Moscow, which later grew into a larger festival. The Novosibirsk band Srub headlined the event. Notably, Bol was initially conceived as a concert featuring three bands—Utro, Trud and Srub—with Igor later inviting friends from Ploho to join.
In the summer of 2016, Srub performed at the international festival Folk Summer Fest. After the festival, keyboardist Elizaveta Shapranskaya (Igor’s first wife) left the group.
In the fall of 2016, Igor Shapransky moved to St. Petersburg, where he met producer Gleb Godunov, who soon became the band’s manager. This marked the beginning of a more professional phase in the band’s career.
By the end of 2016, Srub's discography had expanded with two more albums: Pesni Zlykh Tsvetov ("Songs of Evil Flowers") and Eres ("Heresy"), which solidified the success of their earlier releases.

### The 2017–2019 Period

In May 2017, after concerts in St. Petersburg and Novosibirsk, the original Novosibirsk lineup of Srubdisbanded—the project effectively became the creative brainchild of Igor Shapransky, with rotating members.
In June 2017, a documentary film about the band "Za Kukushkoyu Cherez Les" ("Following the Cuckoo Through the Forest"), was released. The film served as the graduation project of former bassist Stanislav Kulikov, who worked as the cinematographer.
In the fall of 2017, Srub founder Igor Shapransky balanced concert performances with his involvement in the Krasnoyarsk post-black metal band Ultar, whose members participated as session musicians in Srub's live lineup.
In the winter of 2018, Srub released their first fully acoustic album, Skorb ("Sorrow"), which was presented during a series of joint concerts with the Danish neofolk project Of the Wand & the Moon. For these performances, Igor was joined by bassist Mikhail Karpov and drummer Andrey Strigotsky from the St. Petersburg rock band "para bellvm", as well as guitarist Artyom Ionov from Postnoir.
In the spring and fall of 2018, two tours took place where Igor Shapransky once again shared the stage with musicians from Ultar.
In the fall of 2018, Srub released the full-length album Post ("After"), which listeners perceived as significantly expanding the band’s sound—featuring more experimental and genre-diverse elements.
In the summer of 2019, Srub performed at Nashestvie ("Invasion"), Russia’s largest open-air rock festival.
At the end of 2019, the band released the conceptual album "988"—a reference to the year of the Baptism of Rus'. The titular manifesto track takes a clear stance against the imposition of foreign ideologies, celebrating ancient roots (the imagery of "the greatness of the forest"):
   "We are against the forced imposition of alien ideologies. The greatness of the forest will not be forgotten. From the earliest days to the present."
The album featured active participation from musicians of Ultar and Grima, with mixing handled by Vladimir Lehtinen from the band Second To Sun, giving the album a particularly heavy and dramatic sound.
As 2020 approached, Igor Shapransky relocated to the Czech capital, Prague.

### The 2020–2022 Period

In the spring of 2020, the pandemic, related restrictions, and a series of circumstances forced Igor Shapransky to return to Novosibirsk, where he reassembled a local lineup.
In May 2020, during a time of global pain and loss, the band released the first single, Upokoy ("Rest"), from their upcoming album. The track combined Srub's signature neofolk and post-punk with black metal and progressive rock influences.
In the fall, two more singles were released: Nikogda ne videt zla ("Never See Evil"), in the spirit of post-punk, and Za zovom zari ("Beyond the Call of Dawn"), with a black metal grandeur.
As 2020 drew to a close, Srub marked a milestone by hosting their first "live-less" online concert, performing in an empty hall filmed for the camera.
In June 2021, the band released their new full-length album, Skverna ("Defilement"), which introduced several unusually heavy tracks blending the group’s traditional lyrical themes and post-punk elements with modern black metal sounds and folk instruments. Yaroslav Tseluyko from the Czech post-black metal band Chernaa actively participated in the recording. The album was funded through crowdfunding on the Planeta.ru platform, with the amount raised slightly exceeding the target.
On July 23, 2021, Srub was scheduled to perform a special black metal set at the Metal Over Russia 2021 festival, but due to pandemic-related restrictions, the event was postponed to summer 2022.
In the fall of 2021, the band embarked on a large-scale tour titled Do gorizonta zemli ("To the Edge of the Earth") in support of the new black metal album. The month-long tour covered 21 cities, marking the first professional tour of its scale for a domestic band in this genre in Russia.
In the winter of 2022, Srub announced a new album titled Very peri ("Feasts of Faith"), hinting that the release would be less "heavy" in sound compared to Skverna and calling it a "new chapter in the band’s history." To promote the album, the band planned two concerts—first in St. Petersburg and then in Moscow.
On May 22, the album Very peri was released. The recording featured members of the Omsk neofolk band Nytt Land.
In the summer of 2022, Srub held a solo acoustic online concert in a forest in the Novosibirsk region.
In the fall, the band conducted a small tour titled Besy ("Demons") in support of the new album, consisting of nine concerts.
By the end of 2022, the Novosibirsk musicians faced difficulties participating in lengthy tours due to various reasons and, by mutual agreement, left the band.

### The 2023–Present Period

In the winter and spring of 2023, Srub reassembled with musicians based in St. Petersburg. Among the new members was Ilya Fedoseenko, one of the city’s finest guitarists.
To mark the band’s 10th anniversary, a major anniversary tour across Russia—from Kaliningrad to Vladivostok—was announced in the spring of 2023.
In the summer of 2023, the revamped Srub recorded their 10th anniversary album, aptly titled "10". The album reimagined the band’s decade-long journey, featuring re-recorded versions of selected tracks in a fully live sound. Renowned drummer and educator Georgy Leonidze, previously of the legendary band Troll Gnyot Yel (Troll Bends Fir), contributed to the percussion. The album was released on September 7, 2023.
Simultaneously, the band headlined the gothic festival Moscow Dark Fest, the independent indie music festival Motherland Fest, and Fort NovoRock (the rescheduled Taman festival).
From September to November 2023, the band successfully completed their most extensive tour to date, spanning two months and covering 32 cities. During a break between the European and Asian legs of the tour, Igor and Ilya retreated to Igor Shapransky’s countryside cabin near Novosibirsk to work on new material.
In February 2024, Srub released an unexpected collaborative single with the post-hardcore band "Yermak!" titled "Rusy valyat reptiloidovё" ("Russians Take Down Reptilians"). The track, intended as the soundtrack for the independent slasher game "Rusy Protiv Yashcherov" ("Russians vs. Lizards") by Agafonoff and Smola Game Studio, featured a bold, humorous production.
In the spring of 2024, St. Petersburg drummer Ivan Griboedov, known for his work with bands like Shchenki, RSAC, Grechka, and Chernikovskaya Hata, joined the permanent lineup.
In March 2024, the band released the single Lyuto lyubit ("Fiercely Love"), a poignant song about love for one’s mother and homeland, hinting at the themes of their upcoming album.
In the summer of 2024, after a year-long search, bassist Vladimir "KAMAZ" Kalmarzan, one of St. Petersburg’s most "notorious" musicians, joined the band.
At the end of August 2024, Srub released their new studio album, Dni urozhaia ("Days of Harvest"), symbolizing a fruitful "harvest" of their evolving sound. The album’s material revolves around themes of reaping and the cyclical nature of life, with its online release coinciding with the final days of summer.
In September and October, the band embarked on the Dni urozhaia tour, presenting an updated setlist in support of the new album across several Russian cities.

## Contribution to the Music Scene

The emergence of Srub has significantly influenced the development of the post-punk scene in Russia. The band is often regarded as one of the leaders of the new wave of Siberian rock in the 2010s. Their success demonstrated the demand for Russian-language material in indie music, sparking interest in bands singing in their native tongue. It’s no coincidence that organizers of festivals like Bol ("Pain") in 2015 deliberately focused on Russian-speaking artists, rejecting the trend of the past years to imitate British indie rock[2]. Srub contributed to this shift by proving that it’s possible to remain relevant and authentic while drawing on one’s own cultural codes. In terms of genre, the band expanded the boundaries of post-punk by incorporating elements of folk and extreme metal. Albums like Skverna("Defilement") (2021) showcased how post-punk could successfully merge with black metal and folk melodies. This innovation has inspired other musicians to pursue bold experiments. Additionally, Srubset an example of independence and close connection with their audience: the band actively released music independently (via Bandcamp and social media), and the recording of Skverna was crowdfunded, marking one of the first such cases in the Russian rock scene. Thus, the band made a significant contribution to the development of DIY culture and new models of artist-audience interaction.
Srub’s influence extends beyond the confines of a narrow musical genre. Their work has become part of a broader phenomenon—the resurgence of interest in national roots within contemporary youth culture. As noted by the music portal Sadwave, the rise of Srub coincided with an era when Russian reality once again took center stage, making singing in English irrelevant for indie musicians. Against this backdrop, the band grew in a "parallel world of occult-chthonic post-punk," attracting a diverse audience ranging from bohemian hipsters to rugged patriots. The breadth of this audience indicates that Srubmanaged to strike a deep chord in the Russian soul, uniting people of different perspectives around primal imagery (forests, dark forces, the mystery of nature). Srub’s music often accompanies amateur videos and artistic projects dedicated to themes of Russian gothic and provincial melancholy—for example, their tracks appear on platforms like the Russkaya Smert ("Russian Death") blog, illustrating themes of decay and the decline of rural life. Thus, the band has significantly influenced the formation of the dark folk aesthetic in Russia, becoming its flagship. Srub’s live performances also contribute to concert culture: the band introduced elements of theatricality and ritual (such as performing in traditional attire or against specially curated visuals). They demonstrated that a rock concert could become a mystery, immersing the audience in the atmosphere of a ritual. Finally, Srub became a kind of "meeting point" for various subcultures—from metalheads to neofolk enthusiasts—creating a space for dialogue. This syncretism enriched the music scene by connecting previously disparate audiences.
Srub’s work has inspired an entire generation of musicians and bands who have turned their attention to national themes and dark aesthetics. The band’s emergence gave momentum to the development of the Siberian post-punk scene: alongside Srub, bands like Ploho and Buerak from Novosibirsk gained recognition, adhering to the same principle of singing about their homeland in their native language. Igor Shapransky himself has played a mentoring role for some young bands—for instance, it was his invitation that led Ploho to perform at the Bol festival, giving them a significant boost. Srub’s style—dark folk-rock with ethnic motifs—has been adopted or creatively reinterpreted by many artists. In the neofolk and folk-metal scenes, echoes of Srub’s influence are evident: bands like MistFolk from Stavropol and Tyagotenie from Samara not only collaborated with Srub but also share their interest in pagan themes, weaving them into their sound. Srub’s success at the intersection of genres has also shown new horizons to metal bands—for example, the experimental black metal duo Grima participated in the recording of the album 988, and members of the post-black metal band Ultar performed at Srub’s concerts. This is evidence that genre boundaries are becoming more porous thanks to the influence of the Novosibirsk band.
Moreover, Srub has influenced the visual image and presentation of many bands. After their rise, there was a surge in interest in Slavic symbolism, folk costumes, the use of Cyrillic script, and vintage imagery in album art among bands in related genres (from darkwave to industrial). It can be said that Srub paved the way for the wave of "Russian gothic rock" in the 2020s, inspiring artists who followed their example. Many psychedelic rock and post-punk projects began to explore folk motifs more actively, seeing how successfully Srub did so. Beyond direct influence, Srub served as a focal point: young bands opened for them and shared stages, gaining experience (for example, at the turn of the decade, they performed alongside emerging dark-folk artists at thematic festivals). Ultimately, it’s clear that Srub acted as a catalyst for the formation of a community of musicians drawing inspiration from Slavic culture and dark aesthetics. Many of these bands explicitly cite the Novosibirsk group as a creative benchmark.

## Discography
### Studio albums

* Сруб (2014)
* Хтонь (2015)
* Песни злых цветов (2016)
* Ересь (2016)
* Скорбь (acoustic, remake, 2018)
* Пост (2018)
* 988 (2019)
* Скверна (2021)
* Веры пиры (2022)
* 10 (remake, 2023)
* Дни урожая (2024)

### Extended plays and singles

* По грибы (2013)
* Живица (2013)
* Природы ради снисхождения из-под паутины песни (2014)
* Тайной тропой (2014)
* Юдоль (2014)
* Безымянный (2016)
* Восход (2017)
* Упокой (2020)
* За зовом зари (2020)
* Никогда не видеть зла (2020)
* Восвояси (2023)
* Люто любить (2024)

### Compilations

* Топь (2014)
* Тень (2015)
* Туман (2015)
* Иные (2019)

### Other

* Не знать вины (feat. «почему коммутатор молчит», 2014)
* Безмолвие (feat. «почему коммутатор молчит», 2015)
* Через плечо переплюнув мечты (feat. MistFolk, 2022)
* Русы валят рептилоидов (feat. Ермак!, 2024)
* Дни урожая (feat. Бранимир, 2024)

### Music videos

* Сердце (2018)
* След в след (2018)
* Помни (2018)
* До горизонта земли (2018)
* 988 (2019)
* Шёпот и вой болот (live, 2024)
* Люто любить (2024)