TRIBVLIST

An anonymous indie project that chooses to remain faceless in an era where such a stance is unfashionable. This deliberate shift away from personality and toward sound works entirely in its favor: the listener is left alone with feral ethno-electronic music that holds equal potential to ignite a rave crowd or be experienced with intimate closeness. This is how HMLTD or Depeche Mode might sound if they sang in Russian. In a similar way, TRIBVLIST invite the listener to lose themselves in an androgynous musical vortex — one that can simultaneously induce oblivion and help endure dark times.

— Pyotr Poleshchuk (The Village, Field of Pikes)

GALLERY

MUSIC

VIDEOS

ARTIST-LED PRODUCTION

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In addition to developing TRIBVLIST, we create commissioned music shaped by a distinct artistic vision that helps projects stand out and acquire a unique sonic identity. Our work spans composing original music for artists, films, advertising, and theatrical productions. In every collaboration, we seek a balance between our own creative language and the client’s objectives, offering unconventional solutions while emphasizing the individuality of each idea. One of our notable achievements is the complete original soundtrack for the documentary film “Zurab: Behind the Scenes”, where our music reinforced the narrative and emotional depth of the story about the life and creative path of the renowned artist and sculptor Zurab Tsereteli.

MUSIC

Ratcatcher (2023)

The project’s debut single was released alongside several remixes by fellow artists from the music scene. Accompanying the track was a music video of the same title, shot entirely on real film.

Without Life (2024)

TRIBVLIST is anonymous indietronica well suited to uncertain times. “Without Life” is a remarkably high-energy album, despite its title. It continues the project’s established line: half an hour of somber electronics infused with ecstatic and languid vocals. Ethnic elements coexist with traces of urban future garage, creating a synthesis that welcomes both seasoned electronic music listeners and newcomers alike. For the former, TRIBVLIST offers a soundscape rich enough to explore; for the latter, a gentle introduction to electronic music through song-driven composition, where vocals play a central role. It is quite possible that “Without Life” is exactly the album capable of making life feel lighter right now.

LULU (2024)

TRIBVLIST is changing — and in a compelling direction. While earlier releases leaned toward melancholia, LULU is a true tropical brew. Gone is the bleak gloom, replaced by an invitation to participate in some unidentified ritual. The project’s characteristic “cold” vocal delivery remains, making LULU sound as if snow had fallen in the very heart of Africa. The track would feel at home as a soundtrack to Danny Boyle’s The Beach, not least due to TRIBVLIST’s switch to English lyrics. This may well be the first TRIBVLIST track with the potential to resonate with listeners anywhere in the world.

0 Degrees (2024)

TRIBVLIST is anonymous indietronica that recalls the rave era, when the track mattered more than the artist’s persona. While the previous release (LULU) transported listeners to the tropics, “0 Degrees” suggests that winter has prevailed. The project returns to its signature darkness, possibly influenced by the participation of Yef, known for the most popular remix of Badda Boo’s “Sincerity.” Echoes of Depeche Mode are present here, but whipped through breakbeats — as if synth-pop legends had drawn inspiration not from alternative rock, but from The Prodigy. Eastern motifs permeate the track, with the setar creating an anxious, bazaar-like tension. A perfect soundtrack for pushing through snowdrifts.

Blood Is Not Water (2025)

The anonymous project TRIBVLIST continues its journey through the world of indietronica, but on “Blood Is Not Water” takes a turn toward a more rock-oriented sound. Collaborating with CHERNY CHERNY, the project preserves its familiar “bazaar” atmosphere while adding a heavier, gloomier edge — as if all pop music had somehow descended from Linda. What consistently surprises about TRIBVLIST is the contrast between anonymity and the ferocity of its sound. Artists who hide behind masks are often emotionally restrained, but TRIBVLIST attacks the listener head-on. This is bleeding music — there is no water in it.

Meditation III (Live Improvisation on Iranian Setar) (2025)

An improvisation on Iranian setar in three movements.

Each was recorded deep at night, under a different moon, and corresponds to three states of matter:

the Dead, the Living, and the Unseen.

Chalk (2025)

If you haven’t heard TRIBVLIST yet, now is the right moment. This is an anonymous electronic project blending the theatricality of Depeche Mode with the raw expressiveness of Shortparis and the marketplace atmosphere of the East. The timing matters because “Chalk” is the final track of an era embodied by the Satyr-Elf image. The track emerges as a curious synthesis of everything TRIBVLIST has done so far and, as a final gesture, offers two of the project’s strongest remixes. At present, TRIBVLIST sounds and looks like an intriguing fusion of castlecore aesthetics and pagan imagery. What comes next — and who (or what) hides behind the mask — remains uncertain. For now, “Chalk” is the perfect entry point: a track that works equally well as the closing of a chapter and the beginning of an introduction to TRIBVLIST.

REVIEWS

Andrew F. (Earz on Fire)

I cherish moments when music reaches your ears that you never expected to hear — and yet it cuts straight to the bone, leaving you in a state of light, reverent trembling. Without false modesty, this is exactly what happened to me with “Without Life” by TRIBVLIST.

This album is the debut of an anonymous project, and it stands as one of the strongest debuts in Russian-language music in recent years. From a genre perspective, one can clearly identify post-industrial electronics infused with ethnic textures and emotionally charged poetry.

The album’s dark atmosphere can almost be touched and smelled. The songs are written in such a way that they can both make you lose yourself on a rave floor and dissolve completely in an intimate, close listening experience.

At times, the sound creeps inside you quietly, only to burst outward through heavily overdriven synthesizers and raw emotional intensity. The album itself is dedicated to the fragility of human nature and the eternal struggle with the fear of death.

“Without Life” becomes a captivating journey — either into the depths of the mind or into some distant Eastern land. One thing is certain: I strongly recommend that you experience this work by TRIBVLIST.
Personally, it touched me deeply — and I was grateful for it.

Ra Djan (History of Rave Culture)

“Our goal is to engage in dialogue with everyone who experiences pain, despair, and fear — through a language everyone understands: music.”

The dark yet tender album “Without Life” by TRIBVLIST is a compelling example of an amalgamation of gothic energy and the shadowy vibrations of electronic music. In “Without Life”, I hear a Human being capable of overcoming the pain of the gothic world — a world without a supreme deity, where salvation depends solely on one’s own strength.

The cover features an ancient Greek satyr, but not the intoxicated, Dionysian satyr of classical antiquity. Instead, it is a lost and fleeing Demon, reminiscent of the universe of Mikhail Vrubel.

Through the album’s occasionally energetic passages, a sensitive and frightened inner core reveals itself. The music seems to forcefully overcome fear, as if gathering the remnants of a fractured will into a fist in order to declare itself to the world — and by doing so, to defeat fear, as vividly demonstrated in the track “Boccaccio.”

In “Hera,” the voice does not so much sing as it suggests, whispers, persuades, and lures the listener away, “biting into the skin.” From the fragile substance of consciousness, a confident musical canvas emerges.

The album’s music functions like symbolic muscles, like an exoskeleton — helping a lonely individual, abandoned in a vast and gloomy world, to reclaim their strength. The music tones the muscles; it prepares one for a journey.

“Without Life” is definitively not an album of genre, but an album of mood. It is cohesive both sonically and compositionally, painted with smooth yet forceful brushstrokes — reminiscent of Vrubel. A significant portion of the album (11 out of 20 tracks) consists of remixes, creating a fascinating experimental field for listeners who have grown accustomed to abandoning traditional song structures — a field of gothic nonconformism.

“While working on this material, we came to understand what it should ultimately become, learned to hate and love each track multiple times, and most importantly reaffirmed what we consider the core principle of any creative work: to create sincerely and according to the call of one’s own heart.”

Pyotr Poleshchuk (The Village, Field of Pikes)

An anonymous indie project that chooses to remain faceless in an era where such a stance is unfashionable. This deliberate shift away from personality and toward sound works entirely in its favor: the listener is left alone with feral ethno-electronic music that holds equal potential to ignite a rave crowd or be experienced with intimate closeness. This is how HMLTD or Depeche Mode might sound if they sang in Russian. In a similar way, TRIBVLIST invite the listener to lose themselves in an androgynous musical vortex — one that can simultaneously induce oblivion and help endure dark times.

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