Drawing its nominal inspiration from a remote Belarussian city nestled deep amidst the in-betweens of the East and the West, a city that has been burned to the ground on several occasions only to be rebuilt
like a Phoenix rising from its ashes, Minsk is a sort
of dark cerebral experimentation...an emotive
conceptualization that sears the visceral and hopes for something real...something between the conscious and the unconscious... a roller coaster of passion,
noise, rhythm, and trance.

Drawing its brand of eclecticism from a milieu of broadly spaced musical and conceptual influences, Minsk is a bodily experience that hints at a sort of mystical awareness and sophistication. The music is as organic as it is other-worldly, infusing the rhythms of the earth and the resonance of the human voice with the synthetic
sounds of machines, amplifiers, and effects.

Minsk combines a sonic onslaught of dirge-like walls
of doom and metal with Hawkwind and Jethro Tull
inspired 1970's psychedelic rock and tribal elements reminiscent of Dead Can Dance. The vocals range from soulful singing, to three and four part anthemic
arrangements, to barbaric screams, and the result is a
dynamic and emotional piece of sensory overload that
has been compared to Neurosis, Mastodon, Cult of Luna,
Entombed, and Acid Bath.

The group formed in the summer of 2002, performing its
first show in early 2003 and completing its demo CD,
Burning, in the fall of that year. Still in the infant
stages of their efforts, they embarked on a tour in
support of the CD which took them from Illinois to the
West Coast and back. 2004 and 2005 have begun the
realization of the band's labors, allowing them to share the stage with many incredible bands at the Templars of Doom, South by Southwest, and Emissions
from the Monolith Festivals. Recording with producer
Sanford Parker (Pelican, Unearthly Trance, Lair of the
Minotaur, Venomous Concept) at Volume Studios has
yielded both their AT A LOSS debut full length album
and a new bass player in Parker himself, also noted
for his play in the "megalithic doom outfit", Buried at Sea.

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