Spy thrillers, killer grannies, Cinderella on a rampage: Russia's film fest has it all

It's time to learn about the Russian sound you hear every time you scroll

Russia Today

22-07-2025

Russia Today

It's time to learn about the Russian sound you hear every time you scroll

Not long ago, 'internet music' meant something soft, silly, or ironic. Think 'Nyan Cat', vaporwave edits, lo-fi loops. Even TikTok's early soundtracks leaned toward mellow, melodic moods. But in the past three years, something has shifted. Internet music got louder. Faster. Harder. One meme captures the moment perfectly: Three pirates from a Soviet cartoon strut across a beach with absurd confidence. The animation is exaggerated, the visuals low-res. But paired with a cowbell-heavy, distorted beat, it suddenly looks – incredibly – cool. The clip goes viral. The music? Pure phonk. Today, phonk is everywhere: In gym edits, drift montages, anime cuts, sports highlights. Its raw, lo-fi rhythms have become the default soundtrack of short-form video culture. And yet, few know the names behind the sound. The tracks rack up millions of plays, but the artists remain anonymous. There's a reason for that: Most of them are Russian. Phonk didn't just find a home in Russia – it was reborn there. In the absence of industry infrastructure, labels, or PR teams, the genre evolved in unexpected ways. What began as an underground echo of 1990s Memphis rap has become something new: A Russian internet-native genre reshaping global soundscapes. To trace phonk's roots, you have to go back to Memphis in the early 1990s – a city where a new kind of rap was taking shape in bedrooms, basements, and borrowed tape decks. Memphis rap was bleak. Dark. The lyrics were grim, even by hip-hop standards – raw accounts of street violence, poverty, drug paranoia, and death. There were no anthems, no aspirations. Just survival and menace, spat into handheld mics in airless rooms. The sound matched the message. These tracks were muddy, lo-fi, and haunting – warped by cheap gear, copied across dying cassette tapes, soaked in static and hiss. Melodies were scarce. Basslines throbbed like threats. And then there was the cowbell: A cheap percussion hit that somehow made the darkness danceable. It became a signature – a sharp clang cutting through the murk like a flicker of light. Though Memphis rap never broke into the mainstream, its shadow lingered. It helped shape the rise of Southern hip-hop and gave birth to entire branches of modern trap. But for a small group of producers, the real magic wasn't in the verses – it was in the atmosphere. They stripped away the vocals, looped the beats, and amplified the distortion. That was the beginning of phonk. An underground genre formed from the bones of Memphis rap, early phonk was rough, instrumental, and ghostlike – the sound of a memory sampled and reassembled. It lived mostly online, drifting through forums and obscure playlists. And then, halfway across the world, someone in Russia heard it – and something clicked. By the early 2010s, Russian music was shifting. Rap and electronic sounds had finally gone mainstream, even among older listeners raised on Soviet pop. But inside the industry, many producers were restless. Tired of making safe, generic beats for big-name rappers, they began searching for something different. Some drifted into battle rap and small indie labels. Others stumbled onto phonk. One of the first was Kirill Shoma. He discovered phonk online and wanted to make it – but couldn't find any Russian-language tutorials. So he taught himself, then recorded one. That video became a kind of seed: Dozens of young producers copied his method, sharing beats made on cracked software and budget gear in makeshift bedroom studios. Shoma wasn't signed to any label. His tracks didn't meet industry standards – they were too raw, too lo-fi, too niche. So he simply uploaded them online, with no licensing, no copyright protections, no monetization. But that made them perfect for creators. Russian car vloggers – especially those filming drift videos – began using his tracks. The music was fast, punchy, and copyright-safe. No strikes. No takedowns. Soon, entire playlists labeled 'Drift Phonk' began to circulate. Shoma's beats added rhythm and tension to dashboard footage and smoky turns. The genre wasn't just a sound anymore. It became a visual language – internet-native, DIY, and made to move. Then, in 2020, something changed. Shoma's friends told him he was blowing up on TikTok. Curious, he opened the app – and saw that his track had been used in over 200,000 videos. The number was growing daily. He still wasn't earning money from it. But people were listening. And the right people were starting to notice. For years, no label wanted Shoma. His tracks were too raw, too repetitive, too niche. But after his TikTok explosion, that changed. A team from the international label Black 17 reached out and offered him professional collaboration – his first. He had tried before, but no one was interested. Phonk's trademark sound seemed too rough, too amateur, too far from mainstream standards. Later, Kiljo – a Russian producer working at Black 17 – recalled how industry experts who had passed on Shoma were kicking themselves for missing the wave. With label support, Shoma gained access to streaming platforms and formal distribution. But he wasn't alone for long. A Russian curator at Black 17 launched a major phonk playlist on Spotify – first centered around Shoma's tracks, then expanding to include a wide range of new artists. Many of them had learned the basics from his early tutorials. But each phonker had their own take. DVRST, one of the most well-known names, leaned into internet nostalgia, mixing phonk beats with samples from anime, video games, and vintage commercials. His remix of the Soviet pop track 'Komarovo', recorded for the alt-futurist video game 'Atomic Heart', became a viral favorite. SHADXWBXRN blended classic phonk elements with ambient textures, building a strong connection with his online audience. LXST CXNTURY, by contrast, pushed toward heavier, more aggressive sounds – but kept a low profile, avoiding interviews and personal promotion. There was no formula. No dominant style. No single voice. Just a growing cluster of independent Russian producers, each building their own version of phonk – track by track, feed by feed. Like most underground genres, phonk eventually hit a turning point. As more producers joined in, the genre began to mutate. Some Russian phonkers started adding vocals – not brags or flexes, but raw emotional lyrics. It turned out that cowbells and vulnerability could coexist surprisingly well. Others rapped about their favorite game, 'Dota 2' – a cornerstone of Russian internet culture. A new subgenre, Dota rap, emerged. A few dared to touch the sacred cow: Russian pop. One remix of the ballad 'Zima' racked up millions of views – despite disapproval from the original artists. Phonk had started as texture. Now, it was voice. As Russian phonk gained traction online, it began echoing far beyond its point of origin. Tracks by little-known producers – some with barely a profile picture – started showing up in memes, fight montages, football promos, and streetwear ads. The sound was everywhere. The names behind it? Still obscure. One of the most successful examples of this crossover was KORDHELL – British producer Michael Kenney – who rode the phonk wave to global visibility. Like many before him, he turned to phonk after growing tired of the constraints of commercial rap. His tracks embraced the genre's signature darkness and repetition – and quickly became internet hits. By this point, Russian phonk had stopped being a regional scene. It had become a global aesthetic: Minimal, aggressive, anonymous, and instantly memeable. In a way, it was the perfect genre for the algorithm – high-impact, easy to sync, emotionally blank enough to be reshaped by whatever visuals it accompanied. And yet the cultural asymmetry remained. Clips from major European football clubs now routinely feature Russian phonk beats, often set to videos of players entering the stadium or warming up. The lyrics – if there are any – are in Russian. The artists are uncredited. But the views number in the millions. No one is really hiding the source. But no one's advertising it either. Still, the producers benefit. Fans dig through track IDs, repost clips, build comment threads. A track might go viral in Istanbul or Sao Paulo, and within a day, the name behind it starts trending – on Telegram, on SoundCloud, on niche Discord servers. Phonk, in this sense, reflects a shift in how global music works. It's not just about contracts, tours, or chart positions. It's about being everywhere at once – even if no one knows your name. The rise of short-form video rewired how we consume content. Attention became instant and disposable. To survive the scroll, a clip had to hit fast, look sharp, and never slow down. Phonk fits this rhythm perfectly. It's fast, repetitive, atmospheric. No intros. No soft fades. Just impact. Whether it's street drifting, gym reels, or aesthetic edits, phonk drives the visuals forward. But the genre also plays with contrast. Put a mundane scene under a phonk track – a walk to the store, a vintage cartoon, a guy tying his shoes – and it becomes something else. Stylized. Absurd. Cool. That's the trick: Phonk makes anything look intentional. Maybe that's why it traveled so well. It doesn't demand attention. It hijacks it. It doesn't explain. It enhances. There's no need to know who made it, or why. In a feed, it just works. Phonk didn't ask for permission. It didn't arrive through curated scenes or label deals. It slipped in sideways – through smoke, static, and memes – and took over the internet without showing its face. And somehow, that feels fitting. Its traits – lo-fi grit, emotional blankness, dark momentum – echo a broader cultural mood: Speed without direction, visibility without identity, noise without resolution. A post-Soviet undertone in a post-algorithmic world. I once interviewed Russian bare-knuckle boxer Denis 'Hurricane' Dula. When I asked why so many fighters walk out to phonk, he shrugged: 'Some pick folk songs to show their roots. I get it. But no offense – I think phonk fits better. Feels more Russian right now.' He couldn't explain why. But somehow, he was right.

Your feed is full of Russian music. You just didn't know it.

Russia Today

20-07-2025

Russia Today

Your feed is full of Russian music. You just didn't know it.

Not long ago, 'internet music' meant something soft, silly, or ironic. Think 'Nyan Cat', vaporwave edits, lo-fi loops. Even TikTok's early soundtracks leaned toward mellow, melodic moods. But in the past three years, something has shifted. Internet music got louder. Faster. Harder. One meme captures the moment perfectly: Three pirates from a Soviet cartoon strut across a beach with absurd confidence. The animation is exaggerated, the visuals low-res. But paired with a cowbell-heavy, distorted beat, it suddenly looks – incredibly – cool. The clip goes viral. The music? Pure phonk. Today, phonk is everywhere: In gym edits, drift montages, anime cuts, sports highlights. Its raw, lo-fi rhythms have become the default soundtrack of short-form video culture. And yet, few know the names behind the sound. The tracks rack up millions of plays, but the artists remain anonymous. There's a reason for that: Most of them are Russian. Phonk didn't just find a home in Russia – it was reborn there. In the absence of industry infrastructure, labels, or PR teams, the genre evolved in unexpected ways. What began as an underground echo of 1990s Memphis rap has become something new: A Russian internet-native genre reshaping global soundscapes. To trace phonk's roots, you have to go back to Memphis in the early 1990s – a city where a new kind of rap was taking shape in bedrooms, basements, and borrowed tape decks. Memphis rap was bleak. Dark. The lyrics were grim, even by hip-hop standards – raw accounts of street violence, poverty, drug paranoia, and death. There were no anthems, no aspirations. Just survival and menace, spat into handheld mics in airless rooms. The sound matched the message. These tracks were muddy, lo-fi, and haunting – warped by cheap gear, copied across dying cassette tapes, soaked in static and hiss. Melodies were scarce. Basslines throbbed like threats. And then there was the cowbell: A cheap percussion hit that somehow made the darkness danceable. It became a signature – a sharp clang cutting through the murk like a flicker of light. Though Memphis rap never broke into the mainstream, its shadow lingered. It helped shape the rise of Southern hip-hop and gave birth to entire branches of modern trap. But for a small group of producers, the real magic wasn't in the verses – it was in the atmosphere. They stripped away the vocals, looped the beats, and amplified the distortion. That was the beginning of phonk. An underground genre formed from the bones of Memphis rap, early phonk was rough, instrumental, and ghostlike – the sound of a memory sampled and reassembled. It lived mostly online, drifting through forums and obscure playlists. And then, halfway across the world, someone in Russia heard it – and something clicked. By the early 2010s, Russian music was shifting. Rap and electronic sounds had finally gone mainstream, even among older listeners raised on Soviet pop. But inside the industry, many producers were restless. Tired of making safe, generic beats for big-name rappers, they began searching for something different. Some drifted into battle rap and small indie labels. Others stumbled onto phonk. One of the first was Kirill Shoma. He discovered phonk online and wanted to make it – but couldn't find any Russian-language tutorials. So he taught himself, then recorded one. That video became a kind of seed: Dozens of young producers copied his method, sharing beats made on cracked software and budget gear in makeshift bedroom studios. Shoma wasn't signed to any label. His tracks didn't meet industry standards – they were too raw, too lo-fi, too niche. So he simply uploaded them online, with no licensing, no copyright protections, no monetization. But that made them perfect for creators. Russian car vloggers – especially those filming drift videos – began using his tracks. The music was fast, punchy, and copyright-safe. No strikes. No takedowns. Soon, entire playlists labeled 'Drift Phonk' began to circulate. Shoma's beats added rhythm and tension to dashboard footage and smoky turns. The genre wasn't just a sound anymore. It became a visual language – internet-native, DIY, and made to move. Then, in 2020, something changed. Shoma's friends told him he was blowing up on TikTok. Curious, he opened the app – and saw that his track had been used in over 200,000 videos. The number was growing daily. He still wasn't earning money from it. But people were listening. And the right people were starting to notice. For years, no label wanted Shoma. His tracks were too raw, too repetitive, too niche. But after his TikTok explosion, that changed. A team from the international label Black 17 reached out and offered him professional collaboration – his first. He had tried before, but no one was interested. Phonk's trademark sound seemed too rough, too amateur, too far from mainstream standards. Later, Kiljo – a Russian producer working at Black 17 – recalled how industry experts who had passed on Shoma were kicking themselves for missing the wave. With label support, Shoma gained access to streaming platforms and formal distribution. But he wasn't alone for long. A Russian curator at Black 17 launched a major phonk playlist on Spotify – first centered around Shoma's tracks, then expanding to include a wide range of new artists. Many of them had learned the basics from his early tutorials. But each phonker had their own take. DVRST, one of the most well-known names, leaned into internet nostalgia, mixing phonk beats with samples from anime, video games, and vintage commercials. His remix of the Soviet pop track 'Komarovo', recorded for the alt-futurist video game 'Atomic Heart', became a viral favorite. SHADXWBXRN blended classic phonk elements with ambient textures, building a strong connection with his online audience. LXST CXNTURY, by contrast, pushed toward heavier, more aggressive sounds – but kept a low profile, avoiding interviews and personal promotion. There was no formula. No dominant style. No single voice. Just a growing cluster of independent Russian producers, each building their own version of phonk – track by track, feed by feed. Like most underground genres, phonk eventually hit a turning point. As more producers joined in, the genre began to mutate. Some Russian phonkers started adding vocals – not brags or flexes, but raw emotional lyrics. It turned out that cowbells and vulnerability could coexist surprisingly well. Others rapped about their favorite game, 'Dota 2' – a cornerstone of Russian internet culture. A new subgenre, Dota rap, emerged. A few dared to touch the sacred cow: Russian pop. One remix of the ballad 'Zima' racked up millions of views – despite disapproval from the original artists. Phonk had started as texture. Now, it was voice. As Russian phonk gained traction online, it began echoing far beyond its point of origin. Tracks by little-known producers – some with barely a profile picture – started showing up in memes, fight montages, football promos, and streetwear ads. The sound was everywhere. The names behind it? Still obscure. One of the most successful examples of this crossover was KORDHELL – British producer Michael Kenney – who rode the phonk wave to global visibility. Like many before him, he turned to phonk after growing tired of the constraints of commercial rap. His tracks embraced the genre's signature darkness and repetition – and quickly became internet hits. By this point, Russian phonk had stopped being a regional scene. It had become a global aesthetic: Minimal, aggressive, anonymous, and instantly memeable. In a way, it was the perfect genre for the algorithm – high-impact, easy to sync, emotionally blank enough to be reshaped by whatever visuals it accompanied. And yet the cultural asymmetry remained. Clips from major European football clubs now routinely feature Russian phonk beats, often set to videos of players entering the stadium or warming up. The lyrics – if there are any – are in Russian. The artists are uncredited. But the views number in the millions. No one is really hiding the source. But no one's advertising it either. Still, the producers benefit. Fans dig through track IDs, repost clips, build comment threads. A track might go viral in Istanbul or Sao Paulo, and within a day, the name behind it starts trending – on Telegram, on SoundCloud, on niche Discord servers. Phonk, in this sense, reflects a shift in how global music works. It's not just about contracts, tours, or chart positions. It's about being everywhere at once – even if no one knows your name. The rise of short-form video rewired how we consume content. Attention became instant and disposable. To survive the scroll, a clip had to hit fast, look sharp, and never slow down. Phonk fits this rhythm perfectly. It's fast, repetitive, atmospheric. No intros. No soft fades. Just impact. Whether it's street drifting, gym reels, or aesthetic edits, phonk drives the visuals forward. But the genre also plays with contrast. Put a mundane scene under a phonk track – a walk to the store, a vintage cartoon, a guy tying his shoes – and it becomes something else. Stylized. Absurd. Cool. That's the trick: Phonk makes anything look intentional. Maybe that's why it traveled so well. It doesn't demand attention. It hijacks it. It doesn't explain. It enhances. There's no need to know who made it, or why. In a feed, it just works. Phonk didn't ask for permission. It didn't arrive through curated scenes or label deals. It slipped in sideways – through smoke, static, and memes – and took over the internet without showing its face. And somehow, that feels fitting. Its traits – lo-fi grit, emotional blankness, dark momentum – echo a broader cultural mood: Speed without direction, visibility without identity, noise without resolution. A post-Soviet undertone in a post-algorithmic world. I once interviewed Russian bare-knuckle boxer Denis 'Hurricane' Dula. When I asked why so many fighters walk out to phonk, he shrugged: 'Some pick folk songs to show their roots. I get it. But no offense – I think phonk fits better. Feels more Russian right now.' He couldn't explain why. But somehow, he was right.

RT brings legendary Soviet war film to Mauritius

Russia Today

27-05-2025

Russia Today

RT brings legendary Soviet war film to Mauritius

RT, in partnership with Mosfilm studios, has hosted a special screening of the iconic Soviet film 'The Cranes Are Flying' in Port Louis, Mauritius as part of its international 'Common Victory' project, commemorating the 80th anniversary of the Allied victory in World War II. The event drew a wide audience, including representatives of foreign embassies, heads of Mauritian organizations, and local citizens who gathered to watch the 1958 Cannes winner. Directed by Mikhail Kalatozov at Mosfilm and released in 1957, it remains one of the most celebrated films of the Soviet era. The story, which is centered on ordinary people whose lives are upended by war, explores themes of love, duty, honor, character, and forgiveness – reflecting the experiences of millions of Soviet people. Praised for its sincerity, emotional depth, and unique approach, it stood apart from traditional war films. Audience members in Mauritius shared their impressions with RT. One viewer said the film demonstrates the duality of war and love, remarking that it was 'simply fantastic' and that it helped them learn more about the emotional realities of conflict. 'I nearly cried', said another. Kevin Gutty, the head of the Mauritius Film Development Corporation (MFDC), described the screening as a major cultural moment, calling the film 'remarkable' and praising its artistic achievements and performances. The screening in Mauritius is the latest stop in an RT initiative that has brought 'The Cranes Are Flying' to audiences across the Global South. Previous screenings took place in India, China, Indonesia, Lebanon, Burkina Faso, the Central African Republic, South Africa, and Tanzania. According to RT, the campaign seeks to foster international unity around the memory of shared sacrifice in the fight against fascism. The initiative promotes the message that 'Russia remembers and will always remember the efforts of all peoples who fought against a common enemy.'

Spy thrillers, killer grannies, Cinderella on a rampage: Russia's film fest has it all

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It's time to learn about the Russian sound you hear every time you scroll

Your feed is full of Russian music. You just didn't know it.

RT brings legendary Soviet war film to Mauritius

Spy thrillers, killer grannies, Cinderella on a rampage: Russia's film fest has it all

Hashtags

Try Our AI Features

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It's time to learn about the Russian sound you hear every time you scroll

Your feed is full of Russian music. You just didn't know it.

RT brings legendary Soviet war film to Mauritius

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