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Tickets on sale 6/11 @ 10 AM!
$22 Advance | $25 Door
Doors 8 PM | Show 9 PM
Molchat Doma (translated as «Houses Are Silent»), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own.
The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.
Their second LP, Этажи (pronounced Etazhi, meaning “Floors”) was released in 2018. It has sold out more than 10.000 copies and is currently on repressing due to outstanding demand. The song “Sudno” doesn’t leave the global top viral on Spotify since April 2020. Despite playing to packed clubs no matter whether it’s in London, Warsaw, Helsinki, Belgrade or Berlin, they are still flying under the radar in their native Belarus. (Shasta Gilmore)
Perhaps we could think of Molchat Doma’s synth-specked post-punk as a nighttime counterpart to the vaporwave subgenre «mallwave» which sounds like a eulogy to the lost promise of suburban idyll. “It does feel like the ghost of what could have been,” says Sacred Bones founder Caleb Braaten of their sound, “like there’s an alternative 1980s where Molchat Doma filled the malls of America.” — Cat Zhang (Pitchfork)
Molchat Doma open their set explosively. It’s a cop-out to tarnish any European band with the same Soviet brush of icy atmospheres, but it’s relevant here in a different sense. They’re chilling of course, but as they play under seizure-inducing lasers and flickering lights, Scala is transformed into a Cold War-era Top Of The Pops that time forgot.— Decade Mag
Formed in 2017, in their hometown of Minsk, the trio take inspiration from early 80s post-punk and new wave, a visceral, intense mix of metallic drums, ominous synths, and melancholic bass lines. Some tracks sound like they were conceived using basic Casio keyboard presets; others borrow from Krautrock’s motoric grooves. But all burn with a deep seated despair and frustration, Yegor Shkutko’s vocals sounding anguished and distant. The sparse, cold production of second album Etazhi also sounds oddly futuristic, the crushing soundtrack to some dank, cyberpunk dystopia.— Derek Robertson (Europavox)
Great American Music Hall
San Francisco, CA, 94109