Artist description Consists of 5 members. Music is composed with the help of Ensoniq TS10, Ensoniq ASR10 and guitar

Music Style Industrial Rock

Musical Influences Depeche Mode, NIN, Clawfinger, Metallica, Prodigy

Similar Artists Depeche Mode, NIN

Artist History Everything started in a long ago 1993, in March. Nobody now remembers the peculiar date. We celebrate our birthday sometimes on March,27, sometimes on April,1 depending on how one of us feels it right. But that’s not the thing. Then in March 1993 we didn’t think that by the end of the century we’d be able to get the album, which basically will match the professional ones except the means we used recording it.Then in March we thought completely different, we hoped to conquer the world in the shortest possible time and our lives would be connected with music forever. It hasn’t happened so far, but we hope it will. Now we are 22-34 years old depending on the musician, when we started by brother was only 14, I was 18 and was the eldest in the band. Perhaps that’s the reason we thought everything is real and the world waits for us with its arms open.We started live. We, or I should say Nickolay Belyaev’s “Alliance” studio who helped us a lot and whom we thank, had an old MOOG, Yamaha DX21 synthesizer, a completely outdated Russian synthesizer called “Maestro”, a drum-machine maybe Yamaha too and a couple of guitars. Using all this we managed to record our first album with strange title “The Voice of Alienation Children”.Oh! I have forgotten to introduce ourselves. At first there were 4 of us: me – Eugene Gorchakov (John), Dennis Nabatov (Denskey), Alexander Soutinsky (Lizzy), and my brother – Constantine (Strap). We called ourselves “Coincidence Regime” taking the title of one of the songs of LAIBACH. We were all crazy of electronic music: DEPECH MODE, LAIBACH, AND ONE, DANCE OR DIE, and dreamt of sequencer equipment.Our dreams came true in a year: in 1994 in the studio there appeared programmable synthesizer ENSONIQ TS10 (later we had also sampler ENSONIQ ASR10) and in that same year we recorded digital version on the album. It would be better if we didn’t. It was a complete failure. In the whole it took us 4 years to get through the sophisticated mechanism (I mean ENSONIQ, recording, mixing etc.). During those years the Army parted us either with Denskey or Lizzy, we recorded “Sapienti Sat” album (1995) and “Dead Sun” live program (1996).The latter was quite a failure too that caused a deep crisis, which ended by the end of 1997 with the appearance of our guitarist Volodya Tolmachev, who brought some new colour to the sound of the band. At that time Denskey finally got through ENSONIQ and the world saw (too loud, the truth is it was just recorded and nobody new of it) our new album called “Masculism”, which is our best album so far. We had been recording it unlike t previous works more that half a year.MASCULISM differs from the previous Regime works not only with the quality of sound, but in concept too. If for all the works of Regime before 1998 rather serious lyrics and the attempts to write alternative music are characteristic, MASCULISM was recorded with a completely different meaning. At that time the world listened to PRODIGY an extreme electronic craziness. Regime stole the mood. That is the first. Secondly we had now hard-rock guitar. Third, the lyrics became completely English and mocking with no hint of philosophy (except IMMUTABILITY). We chose the object of mockery the beautiful part of mankind, exactly – womankind. Spice Girls and the likes filled the scene and we thought it possible to laugh at it a bit. The recording of the album is a special song. Norman sound engineers would turn gray when they knew how it had been recorded. We had two synthesizers, completely “killed” mixer, a bit of other equipment (processor, compressor and a bit more), 4-channel porto-studio and the brains of Denskey. To get additional effects and to push into sequencer the unpushable the latter sampled the sounds using ASR10, read it on TS10, added effects there, re-sampled it again with ASR10 and thus got the sound needed. As the result we used porto-studio only for extra-pieces of guitar and vocals. Of course not everything was success but at least the album sounds better that any of Arkhangelsk band we listened to so far.After the recording was finished a new crisis appeared, which lasts even now. The thing is we are tiered of the equipment we use and we have no money to buy other. Lizzy now sings with other band, me and Denskey started new project, others have a rest. In the year of 2000 we re-mastered the album in Nickolay Kovalev’s studio, recorded a CD-R, made a web-page.It’s all so far. Waiting for something to happen.

Group Members Yevgeny (John) Gorchakov - vocals, vocal melodies, lyrics, general content ideas, promoting, managing; Dennis (Denskey) Nabatov - programming,keyboards, general music ideas,sampling, back vocals, producing; Alexander (Lizzy) Soutinsky - vocals, general music ideas,composing, keyboards; Konstantin (Strap) Gorchakov - back vocals, piano, lyrics; Vladimir Tolmachev - guitar, general music ideas

Instruments Ensoniq TS 10, ASR 10 programmable synthersizers, guitar "Diamond"

Albums 1993 - "Voice of Alienation Children", 1995 - "Sapienti Sat", 1996 (demo) - "Dead Sun", 1998 (remastered 2000) - "Masculism"

Press Reviews http://www.indiewax.com/ezine/interviews.html

Location Arkhangelsk, Arkhangelsk region - Russia

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