Blues in C minor. Easily. (lyrics by I. Zhelannaya - music by S. Kalachev) 2002

2007 Wheat (My green). Festival Ethnosphere

2010 Sickening. K-rt in Yekaterinburg.

***
The creative destiny of singer Inna Zhelannaya is developing in a surprising way. In our country, very few people know about it, while in Europe and America it is widely known. For many years, Inna Zhelannaya has been an ambassador of Russian culture in the West, she has traveled almost the whole world, performing with outstanding musicians at festivals and concerts. Her name can be found in all famous rock encyclopedias and reference books on pop and jazz music. But in our country it still remains practically unknown.

***
Inna was born on February 20, 1965 in Moscow, in the family of Yuri Mikhailovich and Alla Iosifovna Zhelanny. In 1967, the family moved to Zelenograd. Inna studied for 4 years at music school I took a piano class, dropped out, but sang in my mother’s choir, with which I performed at regional children’s creativity competitions. In 1982, she graduated from school, entered the preparatory department of the Printing Institute, and prepared to become a journalist. But the next year she left for the city of Elista and entered a music school. In her free time from studying, she tended sheep and rode horses. Then in 1984 she transferred to Moscow, to the Ippolitov-Ivanov Music College, where she studied vocals, where she studied until 1988.

Since 1984 she performed as part of the group "FOCUS", since 1987 - "M-DEPO", in 1989 - "Alliance"; toured the USSR, Sweden, France. In 1991, the album “Made in White” was released, which included four songs written by Zhelannaya (in 1994, the Grand Prix at international competition Radio France International).

In 1992, ALLIANCE disbanded; some of its musicians remained to work with Zhelannaya; her songs were performed in Sergei Livnev’s film “Kix”. Soon, collaboration began with the American musician John Humboldt Gates as part of the Russian-American project “Time Zone” (CD “Last Nations”, 1992, “Moonstone Records”).

From 1992 to 1994, Inna temporarily dropped out of creative life. This was associated with the birth and upbringing of his son Ivan.

***
In 1994, Inna Zhelannaya created her own band together with Alliance member, bassist Sergei Kalachev. They are joined by Sergei Klevensky (clarinet) and Sergei Starostin..

In 1995, her first CD “Algae” was released. In the same year, one of the album’s songs, “Only with You,” was included in the CD collection “One World” by the American company “Putumayo World Music”, which features such musicians as Peter Gabriel, Gipsy Kings, Bob Marley, Johnny Clegg, Youssou'N'Dour, Angelique Kidjo and others.

To support the release of this album, the band performs in the United States, at the One World festival in Washington, as well as in New York and the southern states of the east coast of the United States. The culmination of the American tour is the performance in Atlanta at the opening of the Olympic Games.

In October 1998, the Moscow company GreenWave Records released the CD “Inozemets”, recorded in Holland. This album was subsequently licensed in the USA (by Shanachie under the name Inna And The Farlanders: “The Dream Of Endless Nights”) and Germany (by Jaro under the name Farlanders: “The Farlander”). The group begins to call itself FARLANDERS and under this name gives concerts abroad over the next 6 years.

At the end of 1998, the group performed at the world's largest forum of ethnic music, Worldwide Music Expo (WOMEX) in Stockholm, after which they received many invitations from various countries. In 1999, the group visited the United States for the second time as part of a new concert tour (Washington, New York, Boston, Los Angeles, San Francisco).

Since 1998, the FARLANDERS group has taken part in many festivals of ethnic, jazz, pop and rock music, performing in Germany, Great Britain, France, Spain, Belgium, Holland, Denmark, Finland, Switzerland, Austria, Serbia, Slovenia, Poland (including concert at the famous Sopot Festival), Czech Republic, Singapore, gives 20 concerts at the Edinburgh Festival in Scotland. TV shows and documentaries are made about the group, its concerts are broadcast by European radio and television companies - BBC (UK), ZDF, NDR, WDR, Radio Bremen (Germany), Radio France International (France), Radio Netherlands (Netherlands), Polish and Czech television . Articles and reviews are published by Rolling Stone, Los Angeles Times, San Francisco Chronicle, Village Voice (USA), Scotsman, Herald (UK), Frankfurter Rundschau, Frankfurter Allgemeine Zeitung (Germany).

The album “Foreigner” is included in the list of the best world music releases of 1998 and 1999 - World Music Charts Europe (according to a survey by the European Broadcasting Union). The band's concert in Wuppertal (Germany) in October 1999 was included in the German music magazine Folk World in the top ten concerts of 1999.
Released in 1995 debut album“Seaweed”, in February 1996 the singer took part in the Eurovision television competition, in July - in the promotion tour of the CD collection “One World”, in 1997 she gave concerts in Russia, Belgium and Holland. With the release of the second album “Foreigner”, Zhelannaya’s group began to be called FARLANDERS.

Zhelennaya and her groups took part in numerous festivals, including Worldwide Music Expo (Stockholm, 1998). In 1999, the FARLANDERS group visited Germany, Holland, Belgium, Poland, Scotland, and the USA with concerts. In 2000, the live album “Moments” was released, Inna Zhelannaya and FARLANDERS toured Germany, the Czech Republic and Switzerland.

Members of the FARLANDERS group: Inna Zhelannaya - vocals, acoustic guitar; Sergey Kalachev (Grebstel) - six-string fretless bass; Sergey Starostin - kalyuks, zhaleiki, birbine, visl, clarinet, vocals; Sergey Klevensky - ocarina, kalyuki, zhaleiki, birbine, wisl, lowwhistle, Chinese organ, clarinet; Pavel Timofeev - drums; Alexander Cheparukhin - percussion.

Discography FARLANDERS:
Seaweed (1995)
Foreigner (1998)
The Dream Of Endless Nights (1999)
Farlander (1999)
Rock Power 2000. First Meeting (2000)
Moments (2000)

In 2000, GreenWave released its first live album, “Moments,” recorded during a performance at the Moments club in Bremen in the fall of 1999.) The same disc (with a slightly different set of songs) was simultaneously released in Germany (JARO). The sound producer of the album was Ilya XMZ, founder of the group MALERIA. Since 1998, he begins working as a permanent sound engineer. concert performances group, thanks to which the sound of the group changes significantly.

In 2001, JARO reissued the disc recorded in the early 90s by the Alliance group together with the Norwegian singer, world music star Marie Boine. In the JARO version, the disc is called “Winter In Moscow” (Mari Boine, Inna Zhelannaya, Sergey Starostin).

In 2002, the acoustic disc “Shadow Dances” (Inna Zhelannaya - Sergei Kalachev) was released, consisting of songs by Kalachev based on poems by Zhelannaya.

At the end of 2003, the group’s new studio album, “Fictions,” was recorded, entirely composed of adaptations of Russian folklore. The album was released by Green Wave in January 2004.

At the end of 2004, Zhelennaya cooks festive concert, dedicated to the 10th anniversary of the group. The anniversary was attended by musicians Alexey Aigi (violin), Arkady Shilkloper (horn, flugelhorn, alpine horn), Arkady Marto (electronics, keyboards), Ivan Smirnov (acoustic guitar), Andrey Misin (vocals, acoustic guitar), Lev Slepner (marimba ) and others. The concert was filmed, subsequently edited by I. Zhelannaya, and in 2006 under the title “Inna Zhelannaya and the Farlanders. 10 years" was published in DVD format.

Immediately after the anniversary concert, Zhelannaya disbands her band. Later they got together only once - it was a concert within Theater Festival GOLDENMASK featuring Trey Gunn (King Crimson) April 2, 2005.

In the summer of 2005, work on the joint album ZHELANNAYA/MALERIYA “77RUS” was completed. The album consists entirely of Russian songs from the Tver region, original material provided by Sergei Starostin from his own archives.

And in the fall of 2006, Inna Zhelannaya and sound engineer Vladimir Gubatov began searching for musicians for new group. And already on February 24, 2007, a presentation of a new project took place in the Moscow club Apelsin and new program I. Zhelannaya. The team included:

Sergey Kalachev aka Grebstel - bass Andrey Romanika - drums Arkady Marto - electronics Artem Yakushenko - violin Vladimir Gubatov - sound After the presentation, the newspapers wrote: “An amazing mixture of folklore and trance flowed from the stage, thickly seasoned with electronics... The music was hypnotizing, addictive, and the musicians themselves were involved in a self-created trance...” “I find it difficult to describe the style of our music,” says Zhelannaya. - Conventionally, it can be called ethno-psychedelic-progressive. It seems that this style does not officially exist - which means we are the first again.”

In February 2008, Inna Zhelannaya’s new concert album “WINTER” was released. “Winter” is a performance by Inna Zhelannaya at the Moscow Art Theater. Gorky at a joint concert with Pelageya. The core of the group is bassist Sergei "Grebstel" Kalachev and drummer Andrei Romanika - fantastically strong, mature, subtle musicians. “Winter” immortalizes the virtuoso passages of violinist Artem Yakushenko and the electronic delights of Arkady Marto. Each of the musicians is an undisputed leader, and each brought their own unique style to the birth of these songs. The video editing was done by Inna herself, the sound production, mixing and mastering was done by Sergei “Grebstel” Kalachev, the cover design was invented and implemented by the artist Ilya Gimmelfarb. Photographer - Vladimir Myshkin.

And since 2008, instead of the departed Artem Yakushenko, the band has been supplemented by saxophonist Oleg Maryakhin, familiar to fans of ethno-jazz music from the group "Safety Magic". Ilya XMZ (“Malerija”, “Farlanders” sound designer) also sometimes collaborates with the group.

Soon Arkady Marto leaves the team. Then sound engineer Vladimir Gubatov. On for a long time Drummer Andrei Romanika dropped out of the team. Around the same time, Sergei Kalachev’s unique instrument, made by the Moscow master Valery Gulyaev, was stolen. It was a difficult period when the group practically did not perform.

But those who left were replaced by saxophonist Oleg Maryakhin, familiar to fans of ethno-jazz music from the group "Safety Magic" and drummer Dmitry Frolov and Choi Nine, who makes concert video art. However, V. Gubatov later returned, and Andrei Romanika periodically performs with the group. In this The lineup recorded two albums, Cocoon (2010) and Izvorot (2014).

Discography of Inna Zhelannaya’s team from 2001 to 2014:
2001 “Winter in Moscow” Jaro Medien GmbH Inna Zhelannaya, Sergey Starostin, Marie Boine
2002 “Shadow Dance” Green Wave Inna Zhelannaya, Sergey Kalachev
2004 “Fictions” Green Wave Inna Zhelannaya and Farlanders
2006 "77RUS"
2007 "In the Mood for Love"
2008 “Winter” Inasound Records recording of a concert at the Moscow Art Theater. M. Gorky, 06/03/2007
2010 "Cocoon" Inasound Records
2014 “Twist” Inasound Records

***
This year marks the 20th anniversary of the creative union of Inna Zhelannaya and bass guitarist Sergei Kalachev-Grebstel. Sergei has always been by Inna’s side all these years, making arrangements and showing great creativity in working with sound.


Sergey, since 1994, has been playing the instruments of the gifted guitar master Valery Olegovich Gulyaev. V. Gulyaev made instruments for very famous Russian musicians, but he showed himself to be especially creative in his co-creation with guitarists Alexei Kuznetsov, Konstantin Serov, and bassists Andrei Rostotsky and Sergei Kalachev. V. Gulyaev's instruments are truly works of art. The kidnapping of the famous brown bass from Sergei in 2008 was a serious blow for the group. Until another unique Gulyaev bass, nicknamed “Shark,” appeared, the band could not hold concerts or go on tour.

Musicians forgive Valera Gulyaev for his optionality and excessive painstakingness, because at the end they get masterpieces. He can make an instrument for 3-5 years. Inna Zhelannaya, he has been making a very clever nine-string guitar for more than ten years. Valery Olegovich's working style is that he makes tools well and quickly only when the customer is sitting next to him. Then he is, as it were, fed from him with his ideas and essentially a joint creative process takes place. But musicians tour and perform all the time, so work on instruments drags on for years. In addition, V. Gulyaev has a large family with many children, and this also often takes him away from the process of making instruments. Maybe now, when he moved from Moscow to Dubna, things will go better, because Valery rented a large workshop there to work and now feels much freer.

***
Speaking about the style in which Inna Zhelannaya works, critics do not come to any opinion. Inna herself calls her style conventionally and to some extent ironically - ethno-psychedelic-nature-trance.

Many fans of her talent are still nostalgic for the 80-90s, when Inna Yuryevna performed mainly with her own songs, being the author of music and poems. The last such experience was manifested on the album “Shadow Dances” in 2002, where Sergei Kalachev wrote music based on the poems of Inna Zhelannaya. The blues in C minor was especially popular from this album, which was later covered by both Agutin and Presnyakov Jr., but these were only pathetic attempts to reach Inna’s performance.

Since 2002, Inna Zhelannaya has been mainly engaged in the processing of Russian folklore and arrangements of ancient Russian songs.


Having observed Inna Yuryevna for many years, one can only be surprised that she has practically not changed in appearance over the years of her career. Time seems to have no power over her. And at almost fifty years old, she still looks absolutely gorgeous.

No matter how strange it may seem, but despite the lack of attention from the media in our country, Inna has already become a star. And to this day she ranks as the queen of Russian folk rock.

Video materials of Inna Zhelannaya’s creativity:
FARLANDERS group. Transfer Anthropology. December 1999.

Separate video tracks,
compiled in chronological order.

1990 To the very sky (lyrics and music by I. Zhelannaya). TV show 50/50

Inna Zhelannaya
Inna Zhelannaya in Bodø Jazz Open 2014
Background information
Born	(1965-02-20 ) February 20, 1965 Moscow, Russian Federation
Genres	Psychedelic folk, World music, Ethnic electronica
Occupation(s)	Singer-songwriter, musician
tools	Vocals
active years	1985-present
Labels	GreenWave Records, Jaro Medien
Web site	WWW.inasound.ru

Inna Yurievna Zhelannaya(Inna Yuryevna Zhelannaya, February 20, 1965, Moscow) is a Russian singer and songwriter, best known as the vocalist of the folk ensemble Farlanders (1994-2004).

biography

Inna Zhelannaya was born in Moscow and spent her childhood in Zelenograd, where she studied at a music school and sang in a choir under the direction of her mother, Alla Iosifovna. After graduation, she joined a music school in Elista, Kalmykia, and then returned to Moscow to continue her education. As a student, she became interested in rock music and began writing her own songs.

Career

In 1985, Zhelannaya created her first group, Focus, with Eduard Vokhmyanin. Two years later, she became the leader of her group, M-Depot. In 1989, Zhelannaya joined the famous Moscow group Alliance and began collaborating with the author and multi-instrumentalist Sergei Starostin, who introduced her to Russian folk music and soon also joined the group.

Alliance Album Sdelano v Belom(Made in White) was released in 1991 and won Radio France International's Best East European Album Award two years later. In 1994, the group traveled to France to take part in a radio concert, but without a singer, as Inna Zhelannaya left in 1992 to give birth to a child.

In 1994, she re-emerged with her own group, Farlanders, joined by former Alliance members Sergei Kalachev (bass), Sergei Klevensky (clarinet) and Sergei Starostin. In 1995 they released the album Seeweed. The song just s Toboy (With You Only) was included on the Putumayo World Music compilation (also featuring Peter Gabriel, Gipsy Kings, Bob Marley, Johnny Clegg among others) which led to the Farlanders' travels to the US when they toured the Eastern coast starting in Washington, D.C. High point The excursion was the group's performance at the 1996 Summer Olympics opening ceremony.

Inozemets(Foreigner, 1998) CD, recorded in the Netherlands and released by Moscow's GreenWave Records, was released in the USA under the title Inna and Farlanders. Later that year the band played at the WOMEX (Worldwide Music Expo) forum in Stockholm. Concert moments, recorded in Bremen, Germany, released in 2000 on GreenWave.

Folk art is an inexhaustible source of inspiration not only for traditional performers, but also for innovators in music. Today we invite you to plunge into the fascinating world of “progressive folklore” together with our guest, the amazing singer Inna Zhelannaya.

— Inna, tell us how your musical activity began, why did you make this particular choice?

- This is inevitable, my mother is a teacher at a music school. Since by the time I graduated from school I didn’t understand what I wanted, what my heart was in, I had to please my mother and enter Ippolitovka (GMPI named after M.M. Ippolitov-Ivanov - approx. ed.). Then there was an acquaintance with the best musicians in Moscow, it was an invaluable experience, and there was absolutely no chance left to do something else.

- You are quite famous singer. What is fame for you?

- Empty sound. And certainly a hindrance to life and creativity. But I can’t say for sure, I’m not famous. Madonna, Michael Jackson are famous.

— And if we talk not about you, but about the phenomenon in principle: what happens in a person when he gains fame? Where does it help and where does it hinder?

- I don’t know what happens to each individual, it’s very individual. Some are vain, others are shy, and for others, excessive attention causes almost physical discomfort. Many have gone crazy over this. For real.

It’s hard for me to try this on myself, I calmly travel by public transport, go to regular shops, nothing and no one bothers me.

You don't have to be famous to believe in your own uniqueness. Many people are guilty of inflated self-esteem famous people. But you know what the paradox is... Have you ever heard of Florence Foster Jenkins? There was such an American opera diva. She became famous due to the fact that she had absolutely no hearing, no sense of rhythm, no voice. She sang in a completely inhuman way; on YouTube you can find a couple of arias performed by her. She's very interesting creative history, but briefly on the topic: despite all the groundlessness of her opinion, she was so confident in her singing talent, so seriously considered herself irresistible, that she even had a considerable army of fans. She was perhaps the first freak on the music scene...

So if you are completely untalented, but you need to become famous at all costs, it is important to be able to convince everyone around you that you are a genius.

— What kind of listeners are you expecting at the concert?

— We are waiting for any listeners. This question always puzzles me. We don't choose the public, we just do what we do best. And people who are close and understandable are somehow attracted to it. IN Lately We have a lot of young people at our concerts - this is especially pleasing.

Photographer Andrey Morozov

— In the press you are often called “the leading Russian folk performer.” How do you feel about this title? Do you feel like a “messenger of Russian culture to the world”?

“To be honest, I don’t understand why such questions are addressed to me.” I am not the only person in Russia, and certainly not the first, who is involved (to one degree or another) in folklore. To begin with, I cannot be called a purely folk performer, this would immediately send readers in the wrong direction. If people happen to come to listen folk songs- in the generally accepted sense of the word - come to our concert, they will be in for some shock. I'm not an authentic performer.

Secondly, we play something between progressive and psychedelic, use a lot of electronics, master a variety of new music technology. The only thing that somehow classifies us as a folk movement is the performance of folk song material. In our music, which frames these songs, there is practically no popular music, no folk, not even a hint of folk.

Messenger - no, I don’t feel it. I always avoided any kind of missionary pathos. God forbid. In general, it sounds funny - “envoy of Russian culture.” The culture is gone, but the messengers remain? 🙂

— How do you select material for your albums?

“First of all, the material should be close to me, touch me to the quick.” Some “strings of my soul” must respond. Only in this case will I be able to convey it as effectively as possible and touch the listeners as deeply as possible.

I haven’t written for a long time; folk music has completely captivated me. I don’t write and I don’t want to. Yes, as an author, I have nothing to say, actually. I focused on performing. Now I'm interested in this.

— Are there any elements in folklore (certain songs, themes) that you will never use?

— Chastushki is perhaps the most unknown, unexplored and, in a sense, alien space for me. In general, fun is not my topic. I am more of a specialist in soul-searching, suffering, dreams, philosophizing, contemplation and similar egocentric things. Fortunately, there is an immense sea of ​​this goodness in Russian songwriting. But to swear that no, I will never sing ditties - hardly.

Photographer Andrey Morozov

— At this stage of your stage career, are you ready for some bold experiments in music? To a duet that is not expected from you?

— Yes, we do some kind of duets all the time. With Marie Boine, with Trey Gunn, with Lev Slepner, Pelageya, Sergei Starostin, Masha Makarova, Arkady Shilkloper, and in general with a huge number of our wonderful musicians. There are Russian-Norwegian projects in which I have repeatedly participated in Norway, and in April we will have concerts in Russia with one performer. And the further you go, the more you want these experiments, more and more. I am very stagnant in my project, there is not enough movement, some new blood, new ideas, new influences. It’s impossible to stew in your own juice all the time; you lose your taste for music in general, you become isolated, and become monotonous.

For example, directly in this moment You found me working on a cover version of Grebenshchikov’s song “I am a snake.” We are doing it together with Dima Zilpert, guitarist of Tinavie and Sorge, and Mitya Goltsman, electronics engineer of Sorge. Gena Lavrentyev, a brilliant violinist and tabla player, will also take part in this experiment. Perhaps bassist Denis Petukhov from the group “Masha and the Bears”, perhaps someone else, I don’t know, the work goes on slowly, everything is as usual, everything is fun. What could be more important than the pleasure of the process? Even the result is not that important.

I’m getting ready to record with Masha, she’s currently writing an album, and she has a very beautiful song for two voices, called “Egg.” We often perform it at Masha's concerts.

On April 13, we will have a concert in the Theater Hall of MMDM, in which our musician friends and singer friends will also take part. Come and listen to us sing folk songs in a girls’ choir, truly, in a folk way. Moreover, girls never folk songs they didn’t sing, so this was also a completely unexpected experiment for them.

— Previously, you performed as a soloist of the group, now you are the face and name of the group. In which role are you most comfortable?

- Either is good. It all depends on creative tasks. You can be a performer, you can be a leader. Both are interesting. The main thing is not to confuse the roles.

— How are the relationships between the group members built? Can you be categorical, harsh, authoritarian if the situation requires it?

— In matters of creativity, we are all absolutely equal in the group, including the sound engineer. Everyone does their own thing, everyone comes up with their own parts, but everyone can also interfere in the creative process of the other, advise something, recommend something. The last word remains with me if I am sure that this word is correct.

Sometimes I try to be categorical, but apparently I’m not very good at it. It’s easy to persuade me, convince me, argue with me. And I don’t have enough wisdom to gently manage such strong, talented and self-sufficient creative individuals, and even men. And pressure does not always produce positive results.

Outside of work, we communicate little. Everyone has their own business, family, children, everyone has a lot of other work - other groups, tours, students, master classes, etc. Although some holidays, e.g. New Year, we often celebrate together. But to say that we are great friends - I don’t know, I wouldn’t say that.

— How do you feel as a mother? Who are you for your son - a friend, a mentor, an authority?

- Now I practically don’t feel it. The son is an adult young man with a beard, so now our relationship has moved into a more friendly format. And to be honest, I already want to live alone. I'm starting to get tired of the constant invasion of young people in our house. But we really have an invasion. From morning to evening, if the son is at home, someone comes to him, they listen to their drums and basses, compose something, immediately record, “don’t make noise with the dishes - we’re recording!”, and if it weren’t for the spacious apartment , where there is always a place to hide, I don’t know how I could have endured it all for so many years. Adult children should live independently, this is my firm belief. But he is comfortable with me, comfortable, I am the world’s mother, as they say. And he is not going to get married yet. 🙂

— How does your family feel about your creativity? Do they go to concerts?

— Yes, my son and his friends often attend our concerts, they are interested. He is very respectful of our creativity, of my musicians. If a new person appears in the group, Vanya always comes to evaluate. He recently completed sound engineering courses, and if we have some work in the studio, he attends recording sessions with interest. But in general, this kind of music is not very close to him, he is a fan of drum and bass, goes to rave festivals, listens to hip-hop, is well versed in all these youth styles and groups, and often plays discos in clubs himself. Still, everything has its time. Our music requires a certain cultural preparation, a store of knowledge, a certain immersion, attention and understanding, which can only be achieved with experience.

— How important is the opinion of your loved ones about what you do to you?

“Nobody’s opinion is important to me.” How many people, so many opinions. You only need to trust your own taste, you need to set your own standards and achieve them, set new ones - and strive for them. Who could be a harsher critic for me than myself?

Inna Zhelannaya was born on February 20, 1965. Her childhood was spent in the city of Zelenograd, where she studied at a music school and sang in the choir, which was directed by Inna’s mother Alla Iosifovna.

After graduating from school, Zhelannaya entered the Elista Music College, after which she continued her education in Moscow. In parallel with her studies at the vocal department, the singer began to get acquainted with rock music, which inspired her to create her own songs.

In 1985, together with Eduard Vokhmyanin, she organized the Focus ensemble and, after a series of successful concerts, decided to create her own group. Thus, in 1987, the M-Depot team arose.

In 1989, the singer began performing as part of the Alliance group. At the same time, Sergei Starostin introduces Zhelannaya to the rich culture of folklore.

As a result, the Alliance's music was enriched with ethnic motifs, and the group's repertoire was replenished with several successful songs, including two undisputed hits, “Further, Further” and “Up to the Sky.” The album "Made in White", which included these songs, was a great success - French radio ("Radio France International") in 1994 recognized it as the best in the East, and the musicians themselves were invited to Paris to perform at the laureates' concert.

But Zhelannaya did not take part in this event, because two years earlier she left the group due to the birth of a child. However, the Alliance soon ceased to exist, and then some of its former members (Kalachev, Zhuravlev, Kistenev, Starostin) united around Inna. Preparations began for the recording of a new album, which later received the name “Algae”. This disc was released by General Records in 1995. After the song "Only With You" was included in the American world music compilation "One World", the group went on a tour of the United States, after which they performed at the opening Olympic Games in Atlanta.

In the summer of 1997, the band gave a concert as part of a festival held in the Belgian city of Ghent, and then the musicians moved to Holland and began recording new material at Milan Ciric's studio. Work on the ball's "Foreigner" disc has already been completed in Moscow. The album was subsequently released in the United States. The Shanachie CD covers bore the inscription "Inna And The Farlanders". This move was designed for an English-speaking audience and predetermined the further name of the group.

In October 1999, "Farlanders" (consisting of: Zhelannaya, Starostin, Kalachev, Klevensky, Timofeev) had a performance in one of the Bremen clubs, and in 2000, the company "GreenWave" released the album "Moments", consisting entirely of songs from this club concert. In support of the album, the musicians conducted a large European tour. However, despite the busy schedule of foreign tours, they also find time to participate in musical life Moscow.