Mikhail Vayman + Vtoraya Polovina - Portait. Chamber Rock Music (FULL ALBUM / LP 1987)

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Михаил Вайман / Вторая половина
Портрет. Камерная рок-музыка
(1987 LP Melodia С60 25869 009)

00:00 1. Снег идет / It's Snowing
06:49 2. Портрет / Portrait
10:18 3. Ладья / Boat
13:18 4. Осенняя песня / Autumn Song
17:56 5. Закаты / Sunsets

23:10 6. К земле / To the Ground

27:14 7. Лист падает / The Leaf Falls
32:06 8. Путник / Traveler
35:23 9. Индира / Indira

Mikhail Vayman's compositions: 1–5
Vtoraya Polovina group compositions: 6–9

Mikhail Vayman — vocals, keyboards (1–5), piano (4, 5);
Marina Kapuro — vocals (1–5),
Semyon Lipkovich — keyboards (1–5),
Veniamin Dunaevsky — sitar (1–5),
Mikhail Kustov — Indian cymbals (1–5),
Sergey Gasanov — tabla (1–5),
Vladimir Zaklinsky — bells (1–5),
Yuri Berendyukov — acoustic guitar (3);
Vladimir Gustov — guitar (1, 2, 4, 5),
Alexander Blagirev — bass guitar (1–3);
string quartet (3–5)

Vtoraya Polovina group, leader and soloist Alexander Teutler (6–9)

Alexander Teutler, vocals (1-3), flute, keyboards
Viktor Karasik, keyboards;
Mihanya Lvovsky, keyboards
Valentni Popov, alto saxophone;
Mikhail Samofalov, guitar
Vladimir Vinokur, bass guitar;
Igor Margolin, drums

V. Dinov, sound engineer
Vladimir Desyatnikov, liner notes
**Overview**

Released in 1987 on the state label "Melodiya," this split album is an intriguing example of Soviet-era experimental rock. It is divided into two distinctive halves that showcase contrasting yet complementary approaches to what its creators term “chamber rock” – a style conceived in the quiet of a studio, deliberately avoiding commercial conventions.

**Mikhail Vayman’s Side**

- **Aesthetic and Influences:**
Vayman’s compositions exhibit a deliberate refusal to chase hit-making, instead favoring a rich musical tapestry rooted in classical influences. The music draws upon elements of medieval and Renaissance art, as well as Indian ragas. Its harmonic progressions are inventive and complex, echoing the experimental spirit of groups such as Genesis, Pink Floyd, and artists like Emerson and Frank Zappa.
- **Concept:**
The liner notes describe this half as a journey into refined, poetic soundscapes that require repeated listenings to fully uncover their “joy of discovery.” Vayman’s formal training in the conservatory and his background in arrangement are evident in the intricacy and organic development of the compositions.

**Vtoraya Polovina’s Side**

- **Musical Character:**
In contrast, the second half—created by Vtoraya Polovina under Alexander Teutler’s direction—presents a more approachable, jazz-rock influenced style. While still experimental, these tracks integrate rhythmic freshness and unexpected sonic twists that draw on diverse cultural elements. For example, one track is noted for evoking the sound of traditional Laotian music, highlighting the band’s engagement with non-mainstream influences.
- **Performance and Reception:**
Although this side offers a more conventional rock backdrop, it still carries forward the experimental ethos by blending composer-driven ideas with expressive instrumental interplay. The ensemble had already attracted attention at events like the Tbilisi rock festival, contributing to its cult status among aficionados of Soviet alternative rock.

**Final Track and Overall Impact**

- **"Indira":**
The album concludes with an entirely instrumental piece, “Indira,” which serves as a requiem-like tribute imbued with both sorrow and striking imaginative force. This track sums up the album’s overall experimental spirit—a mix of high art and rock energy that challenges conventional boundaries.

- **Cult Following:**
With few contemporary reviews available, the album has garnered attention mainly from collectors and enthusiasts who appreciate its blend of non-commercial, artful rock aesthetics and its role in the evolution of Soviet experimental music.

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This album remains a rare gem in the Soviet rock canon, celebrated for its ambitious synthesis of classical tradition and new rhythmic sensibilities, and it continues to intrigue listeners with its “joy of discovery” that only deep, multiple listenings can fully reveal.