Kino (band)

Kino

Company type	Band
Industry	Music
Founded	1981 in Leningrad, Soviet Union
Founder	Viktor Tsoi
Defunct	1990 (initial dissolution)
Fate	Dissolved after Viktor Tsoi's death; reunited in 2019 and active since
Headquarters	Leningrad (now Saint Petersburg) , Soviet Union (now Russia)
Products	Rock music albums and recordings

Kino (, , kee-NOH) emerged as a Soviet rock ensemble originating in Leningrad (currently Saint Petersburg) in 1981. The group was co-founded and fronted by Viktor Tsoi, who composed nearly all the band's songs and lyrics until his passing in 1990. Over their career, Kino produced more than ninety tracks across seven studio albums, along with various compilations and live recordings. During the Soviet period, their music was extensively distributed through underground magnitizdat bootleg recordings. After Tsoi's untimely death in a car crash in 1990, the band dissolved following the release of their final work, the Black Album, which comprised songs created shortly before his demise.

In 2019, Kino declared plans for a reunion with concerts scheduled for late 2020—their first performances in three decades—but these events were deferred to 2021 due to the COVID-19 pandemic. Since then, the band has remained active.

Formation and early phase

Kino was established in 1981 by musicians from two preceding Leningrad bands, Palata No. 6 and Piligrimy. Initially, they performed under the name Garin i giperboloidy (), inspired by Aleksei Tolstoi's novel The Hyperboloid of Engineer Garin. The original lineup featured Viktor Tsoi, guitarist , and drummer . After Valinsky was conscripted into military service, the group started playing at the Leningrad Rock Club during spring 1982 and encountered influential underground figure Boris Grebenshchikov. Around this period, they adopted the shorter name Kino, selected for its simplicity and international pronunciation ease. Both Tsoi and Rybin attributed the name’s inspiration to a brightly lit cinema sign.

Release of 45 and career commencement (1982)

In 1982, Kino unveiled their first album, 45. With only two permanent members at that time, Viktor Tsoi collaborated with members of Aquarium, including cellist Vsevolod Gakkel, flautist Andrei Romanov, and bassist Mikhail Faynshteyn-Vasilyev. Due to the absence of a drummer, a drum machine was employed, producing an energetic and vivid sound. The album’s lyrics embodied the romanticized urban themes characteristic of Soviet bard music. Comprising thirteen tracks, 45 took its title from its approximate duration. Its initial reception was limited; Tsoi later acknowledged that the recording quality was rudimentary and could have been enhanced.

Transitional period (late 1982–1984)

Toward the end of 1982, Kino began work on a second album at the Maly Drama Theatre studio with drummer Valery Kirilov and sound engineer Andrey Kuskov; however, progress ceased as Tsoi lost enthusiasm for the project. By winter 1983, the band performed concerts in Leningrad and Moscow, occasionally featuring Aquarium’s drummer Pyotr Troshchenkov. Bassist Maksim Kolosov succeeded Rybin, followed by guitarist Yuri Kasparyan, who overcame early challenges to become a pivotal member of Kino.

The creative responsibilities were primarily handled by Tsoi (music composition and lyric writing), while Rybin managed logistical aspects such as concerts, rehearsals, and recording sessions. In March 1983, disputes over leadership roles and song selections culminated in Rybin’s exit from the group. The sole surviving audio from this era is an unofficial bootleg titled 46, consisting of Tsoi’s demos featuring a darker tone compared to 45. Although it remains unofficial and was dismissed by Tsoi as merely rehearsal material, fans regard it as Kino’s second album.

Nachalnik Kamchatki and Rising Prominence (1984–1985)

In 1984, Kino unveiled their sophomore album, Nachalnik Kamchatki (), a title inspired by Tsoi’s role as a boiler plant operator and a nod to a 1967 Soviet comedy film. The record was produced by Grebenshchikov and featured contributions from musicians such as Alexander Titov on bass and Sergey Kuryokhin on keyboards, among others. Characterized by a minimalist approach, the album incorporated sparse instrumentation and fuzz-distorted guitar work by Kasparyan. Tsoi later reflected on it as an intriguing experiment with electric sound textures.

Following this release, Tsoi established Kino’s electric ensemble with Kasparyan, Titov, and Georgy Guryanov, commencing rigorous rehearsals in May 1984. Their well-received appearance at the II Festival of the Leningrad Rock Club significantly enhanced their visibility, enabling extensive tours throughout the Soviet Union. During that summer, they shared stages with Aquarium and other groups under the watchful eye of state security in . In 1985, Kino introduced their third album, Eto ne lyubov....

Noch and Widespread Acclaim (1985–1986)

At the start of 1985, Kino began work on a new album but ultimately abandoned it due to Tsoi’s dissatisfaction with producer Andrei Tropillo's intrusive involvement.

In November 1985, Titov departed from Kino to join Aquarium, and jazz guitarist stepped in as his replacement, remaining with the band until its conclusion.

January 1986 saw the release of the incomplete album Noch (), issued by Tropillo. The album sold two million copies, broadening Kino’s appeal beyond traditional rock audiences. Despite its commercial success, the band expressed discontent over minimal financial returns and unfavorable reviews within the underground press.

That spring, Kino secured the grand prize at the IV Festival Rock Club with their song "Dalshe deystvovat budem my" (). During summer, they participated in filming Konets Kanikul ("End of Summer Break") in Kiev alongside Sergei Lysenko, featuring three Kino tracks. July included performances at Moscow Palace of Culture Engineering with Aquarium and Alisa, followed by the release of the compilation Red Wave. This collection sold 10,000 copies in California and represented the first Soviet rock music distribution in Western markets.

Gruppa krovi and Peak Recognition (1986–1988)

Between 1986 and 1988, while expanding his acting endeavors, Tsoi continued composing for Kino. The film The Needle (), starring Tsoi himself, significantly elevated the band's profile. Their 1988 album Gruppa krovi () marked a pinnacle in their career. Kasparyan’s marriage to American Joanna Stingray enabled access to advanced Western recording equipment, allowing Kino to produce an album matching European and American production standards. Russian journalist Alexander Zhitinsky praised Gruppa krovi as a milestone that advanced Russian rock music considerably. The album also attracted international attention when Capitol Records released it in 1989, earning acclaim from critic Robert Christgau. In response to a fan request from the United States, Tsoi translated "Gruppa krovi" into English and recorded it in Moscow in January 1988. Additionally, Melodiya issued Noch on vinyl that same year.

Kino's appearances on Soviet national television coupled with Tsoi’s performance of "Khochu peremen!" () in the 1987 film Assa propelled them to widespread recognition across the nation, striking a chord particularly with Soviet youth.

Zvezda po imeni Solntse and International Recognition (1989–1990)

After achieving widespread acclaim domestically, Kino received invitations to perform throughout the Eastern Bloc and abroad. Their engagements included participating in a Danish charity event supporting Armenian earthquake victims, as well as appearances at prominent festivals such as France’s Bourges rock festival and the Soviet-Italian Back in the U.S.S.R. festival held in Melpignano. In 1989, they debuted the film The Needle and staged a concert in New York City.

The 1989 release of their album Zvezda po imeni Solntse () showcased a more introspective style, contrasting with their escalating popularity. Kino made an appearance on the Soviet television show Vzglyad and produced several music videos. Although Viktor Tsoi expressed dissatisfaction with these clips and wished for them to be withdrawn, they nonetheless received extensive broadcast exposure.

During this era, Kino established a separate pop-oriented group to perform lighter compositions, providing a counterbalance to Tsoi’s more contemplative songwriting.

In 1990, Kino took part in a ceremony at Luzhniki Stadium involving the Olympic flame lighting, an honor seldom bestowed—only four times previously at major Soviet events since 1980.

Chеrny albom and Kino’s Conclusion (1990)

Following a lengthy tour in June 1990, the band intended to pause before recording a new album in France. Tragically, on , Viktor Tsoi lost his life in a car accident near Tukums while returning from a fishing excursion.

Prior to his passing, several tracks had been laid down in Latvia, and the remaining band members completed the album as a homage to Tsoi. Although officially untitled, it is commonly referred to as the Black Album () due to its entirely black cover art. Released in December 1990, Kino and their collaborators announced the group’s dissolution shortly thereafter.

Reunions (2012, 2019–present)

In 2012, coinciding with what would have been Viktor Tsoi's fiftieth birthday, Kino briefly reunited to record "Ataman," a track originally intended for the Black Album but omitted because of subpar vocal quality. This marked the band’s final release and last recording featuring drummer Georgy Guryanov, who passed away in July 2013 due to health issues.

Kino announced another reunion in 2019 with plans for concerts scheduled for autumn 2020—their first live performances in three decades—featuring guitarist Yuri Kasparyan alongside bassists Alexander Titov and Igor Tikhomirov. Viktor Tsoi’s vocals were digitally restored from original tapes and complemented by distinctive visual elements. His son Alexander assumed production responsibilities. However, due to the pandemic, these shows were postponed until 2021.

A live recording titled Kino in Sevkabel was released in March 2021. Subsequently, on 22 December 2022, the album 12_22 became available on streaming services.

On 15 March 2024, a reimagined version of Eto ne lyubov..., combining original vocals with newly recorded instrumentation, was issued.

Later, on October 2, 2025, Молнии Индры (Indra's Thunder), an album featuring remakes of tracks from Начальник Камчатки (Nachalnik Kamchatki) alongside selections from Ночь (Noch'), Неизвестные песни (Neizvestnye Pesni), and other works, was released with original vocal recordings paired with fresh instrumental arrangements.

Style

Kino's sound is chiefly categorized under post-punk and new wave genres. All compositions were crafted by Viktor Tsoi, whose lyrics are noted for their poetic clarity and straightforwardness. While themes of freedom emerge in tracks such as "Mother Anarchy," the band generally refrained from explicit political statements, instead exploring universal human experiences like love, conflict, and the quest for liberty. Tsoi highlighted that his songwriting was intended as artistic expression rather than factual reportage.

Legacy

Recognized as trailblazers in Russian rock, Kino left a profound impact on future musicians. On December 31, 1999, Nashe Radio, a Russian rock station, featured ten Kino tracks among the top 100 Russian rock songs of the 20th century—more than any other group—with "Gruppa Krovi" securing the top position. The publication Komsomolskaya Pravda ranked Kino as the second most influential Russian band after Alisa. Furthermore, "Gruppa Krovi" appeared in a 2007 Russian edition of Rolling Stone as one of forty songs that transformed the world.

Tsoi’s accessible and sincere lyrics found widespread resonance throughout the Soviet Union. Although their work was not overtly political, it paralleled reforms initiated by Mikhail Gorbachev, such as glasnost and perestroika, while their Western-influenced musical style contributed to increasing Western cultural presence within the USSR.

Kino continues to enjoy popularity in contemporary Russia, with Viktor Tsoi revered as an iconic figure. This lasting enthusiasm is referred to as "Kinomania," with devoted followers known as "Kinophiles." In Moscow, landmarks like the Tsoi Wall and the boiler room where Tsoi once worked have become pilgrimage sites for fans of Russian rock.

Despite limited recognition in English-speaking countries, Kino has sustained a dedicated niche audience in the West, particularly within the internet subculture known as "Doomers," where their music is frequently remixed at slower tempos.

In the summer of 2011, commemorating Kino’s 30th anniversary, a memorial guitar plaque was placed near Morske in Crimea, close to where the band camped in 1981 by the Sudak rock club.

The slogan 'Цой жив' ("Tsoi lives") remains widely embraced by admirers.

Current

• Yuri Kasparyan (Юрий Каспарян) – lead guitar, backing vocals (1983–1991, 2012, 2019–present)
• Igor Tikhomirov (Игорь Тихомиров) – bass (1985–1991, 2012, 2019–present); backing vocals (2019–present)
• Alexander Titov (Александр Титов) – bass (1984–1985, 2019–present); backing vocals (2019–present)

Session/touring

• Dmitry Kezhvatov (Дмитрий Кежватов) – guitar, backing vocals (2020–present)
• Oleg Shuntsov (Олег Шунцов) – drums (2020–present)

Former Members

• Viktor Tsoi (Виктор Цой) – lead vocals, acoustic and rhythm guitar (1981–1990; until his passing); bass guitar (1981–1983)
• Aleksei Rybin (Алексей Рыбин) – lead guitar (1981–1983)
• Oleg Valinsky (Олег Валинский) – drums (1981)
• Georgy Guryanov (Георгий Гурьянов) – drums, backing vocals (1984–1991, 2012) (deceased 2013)

Chronology

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Discography

Studio Albums

• 45 (1982)
• 46 (1983)
• Nachalnik Kamchatki (1984)
• Eto ne lyubov... (1985)
• Noch (1986)
• Gruppa krovi (1988)
• Zvezda po imeni Solntse (1989)
• Untitled album (Chyorny albom) (1990)

Compilation Album

• Posledniy geroy (1989)

External links

• Konets Kanikul (1986) featuring English subtitles