The project Snob centers on a pivotal 1996 meeting between Ilya Lagutenko, the frontman of Mumiy Troll, and producer Leonid Burlakov. That encounter sparked a decision to revive the band after a six year lull, changing the trajectory of Russian rock at the time.
At the time Burlakov recalls Lagutenko was splitting his time between China and London, not planning to return to active music creation. Yet the producer sensed signals that something in the air was shifting. Lagutenko carried memories of the Soviet era and the sense that the music space had burned out in certain directions, even as life around them continued to buzz with energy and possibility.
Looking back, Burlakov notes how vibrant the music scene felt in those years. Record stores moved briskly with new releases, and concert venues drew fans who connected with names well outside the mainstream. Audiences were already familiar with icons such as Nick Cave, Smashing Pumpkins, and Marc Almond, whose presence at live events underscored a growing appetite for diverse sounds.
The producer describes introducing Lagutenko to the wholesale warehouses where distributors stocked thousands of copies. When Lagutenko spotted a stack of the album Pulp Different Class in a pirate CD Land warehouse, he realized that there was a real audience for contemporary, adventurous rock in the region. Even the pirates recognized the appeal of fashionable music in that moment. The scene was imperfect, and some artists struggled commercially, yet that snapshot left a lasting impression on Lagutenko and helped shape his sense of opportunity for Mumiy Troll.
Only months later, in April 1996, Lagutenko sent Burlakov the first demo tape, signaling a renewed creative push and the beginning of a renewed chapter for the group.
The singer, born in the mid 1960s, would later be widely recognized for his long career and distinctive voice. By the time of the group’s fourth decade together, Mumiy Troll had released at least 13 studio albums, toured extensively across Russia, and produced tracks that became enduring favorites. Songs such as Vladivostok 2000, Bride, Happy New Year, Baby, and Leak Away resonated with a broad audience and helped cement the band’s reputation for melodic, innovative rock.
In broader music journalism, the act has often been highlighted as a landmark in Russian rock, celebrated for its creativity and persistent presence on the live scene. The story of the 1996 revival is frequently cited as a turning point that demonstrated the powerful pull of live performance and the growing cross-cultural exchange that defined late Soviet and post-Soviet rock movements, and it remains a touchstone for fans and critics alike.