Congress of Dread




I am an envoy of the masses,
Of every color, creed, and class is.
Who's in charge? It's hard to say,
But I know one thing for sure today:

Politics is a dangerous game,
A power struggle with no shame.
Red tanks, Star Wars, strategic gain,
It's the people who suffer the pain.

I say “Hello” to the participants of Congress of Dread

Bookworms and desk rats crawl
While steppe wolves and watchdogs howl
At the sight of red gleams and war's dread
As dragons of conflict raise their fiery head

To say “Hello” to all participants of Congress of Dread

Only time dances the dance of the broken lines,
Hi-Grunts sip their tea, praising external strifes
Trying to wrap people's love as a global excess.
Better sex than Int(ernational)-Ex(cess)
Better sex than Int(ernational)-Ex(cess)

I say “Hello” to the participants of Congress of Dread

"Music for Adults" is a conceptual album and hermeneutical exploration of Soviet and Russian rock. It simultaneously serves as a monument to Svyatoslav Zaderiy and an affirmation of his values. The songs, written by Zaderij at different times, still sound relevant and largely reflect reality.

The formation of modern Russia has crushed the aspirations and ideals of an entire generation and its representatives, throwing us back into the past. This means it's time to return to the origins and understand where we turned wrong. The album is composed as a cohesive work with a sequential narrative, so it should be listened to in the correct order from beginning to end.

Side A is about the clash between the individual and the state.

"Congress of Dread" embodies the image of an era of talking heads determine others destinies, imposing fear as the ultimate mechanism of control. This fear must be resisted. There is no coincidence that this song opened the album "Be not Afraid" in the past - a legend about the lost 11th biblical commandment.

When society is bound by fear, "Experiments on People" begin. The system forces everyone to become a cog, denying oneself and others humanity, finding joy in the fact that tomatoes are red and bean soup is served on time.

Children who born in a society of downcast eyes see that the "Why don't exemplary cold stars burn as intended?!," and when they attempt to soar, surrounding always remind them that crawling is the only option. "Anti-Romanticism", with lyrics written by fourteen-year-old Ilya Utekhin, now doctor of the Philosophy, is a protest and critique that accompanies any growing up, prophetically understanding that consciousness will inevitably shape existence and result in catastrophe: "They mockingly laughed: “Easy, boy, projectiles are accurate enough”".

In an atmosphere of fear and experiments on people, anti-romanticism becomes the sole aesthetic. Life ends and there is "nothing sacred except of war". Yesterday's children realize that their home is infected: "This city is stucked in "Stop" state!"

If there are no answers at the household level, they must be somewhere at higher, national level. The composition "Russia" is a profound and extremely painful reflection. The "stop" cannot simply end; screws tightened to the maximum will inevitably break, and tension cannot disappear as long as the executioners believe in their messianism: "as further you climb up, as closer the temptation of heaven" But the result is the same for everyone: "as further you climb up, as closer the sense of death"

The final is absurd, which means there are two ways out: or it would cause madness, or it would cause refusal of repeating previous mistakes, refusal of building machines that grind up their own kind: "We're tired of playing great leaders, come on, stop it!" Zaderiy says in the lyrics of the composition "Asia."

Side B is about the love. If a person has acknowledged what is love, it is unlikely that he can give it up, as it is a way of world understanding, a way of thinkning. Love can be intended to partners but also to the whole world around: friends, family, life interests and professional achievements.

"Crazy Twist" is the side opener. Love can save you from the fear. And its easiest form is to love madly, to love as if it's the first and last chance, to love one as your "other half." It is so beautiful and powerful that it can shape its own reality: "There's war all around, but it's on the screen."

The protagonist of the song "Money" may seem free from fear and coercion. But in an atmosphere of universal chaos and shifting foundations, you are always one step away from losing your personal values, losing the intention to love: "Stuff will become cheaper, Relationships with friends will become complicated. Red, blue, green papers, Informal games for normal people." The song warns us against perceiving the world one-dimensionally, from materail side, because existence is dialectical.

Even love can be perverted and used as a tool of manipulation, and behind beautiful words and images, there may be completely different meanings. And when "anti" appears before romance, love is replaced by passion. "Karina" tells the story of how passion, being a simpler feeling than love, provides more pleasure in the moment.

Unconditional love, to which the lyrical hero of the song "Blondie" aspires, can overcome the everyday struggle for survival. It allows people to be together rather than above each another.

Not as just partners, but Together it is possible to contemplate the true beauty of the world, absorb it and enjoy it. "Lizard Hunters" is a romantic journey, an attempt to comprehend absolute aesthetic depths and merge within them.

"Love is a Drug" tells the story of how love evolves in marriage. In a certain moment, both partners personalities and their needs become inseparable. We begin to perceive our partner's interests as our own. This mutual dependence can either drag one to the bottom or become a saving rope to them.

The bonus track for the album is Alexander Bashlachev's song "Scout" performed by Svyatoslav Zaderiy. It is a tribute to memory and a work about love for a friend with whom reunion is impossible.

Project team:

Alexey Safronov - producer
Sergey Navetny - sound producer, sound engineer
Sergey Loginov - sound producer, sound engineer
Anton Melnikov - sound engineer
Serafim Sinotov - composer, sound producer
Kirill Zmaznev - producer, sound producer


Mikhail Nefyodov - "NATE!", "Alisa"
Igor Cheridnik - "Strannye Igry", "Avia", "Auktyon"
Sergey Navetny - "NATE!", "Splean"
Ilya Ivakhnov - "NATE!", "Sankt-Peterburg"
Mikhail Lysenko - "NATE!"
Igor Javad-Zade - "Nautilus Pompilius", "Alyans", "Zemfira"
Mikhail Zakharov - "Junkyard Storytellaz"

Bass Guitarists:

Vasily Sokolov - "NATE!", "Sankt-Peterburg"
Mikhail Dubov - "NATE!", "AU", "Dukhi", "The Meantraitors"
Victor Sologub - "Strannye Igry"
Alexander Titov - "Kino", "Aquarium"
Nail Kadyrov - "Zoopark"
Dmitry Batsiev - "NATE!"
Kirill Zmaznev - "Drugs addicted still alive"


Alexey Safronov - "NATE!"
Pavel Vasiliev - "NATE!"
Andrey Nuzhdin - "Strannye Igry", "Igry"
Alexander Khrabunov - "Zoopark"
Serafim Sinotov - "Drugs addicted still alive"


Andrey Selyunin - "NATE!", "Koshkin dom"
Pavel Kondratenko - "NATE!", "Alisa"


Nikolay Rubanov - "Auktyon"

Mandolins, Dobro:

Sergey Starodubtsev - "Kafe"


Arsen Izrailov - "NATE!", "Kafe"

Session Musicians:

Sergey Simchenko - violin
Natalya Osipova - piano
Nikolay Godina - viola, tenor saxophone
Roman Rozhkov - trumpet, flugelhorn
Igor Denisov - French horn
Vyacheslav Lisachenko - trombone
Anton Gornostay - viola
Ivan Kuzmin - cello
Alexey Kiselyov - double bass


Yuriy Shevchuk
Nikolay Kuntsevich
Alexander Chernetskiy
Vladimir Shahrin
Anton Adasinskiy
Sergey Chigrakov
Alexey Safronov
Dmitry Batsiev
Svyatoslav Zaderiy