Ace of Base
Tri Dnya Dozhdya — a Russian rock project founded by musician, singer and songwriter Gleb Viktorov. Emerging in 2019 as his solo stage name, Tri Dnya Dozhdya gradually developed into a full band and became one of the most notable representatives of the new wave of Russian-language alternative rock.
The project’s music combines alternative rock, pop rock, emo, elements of grunge and contemporary electronic music. At the core of the songs are Viktorov’s emotional vocals, guitar-driven sound and intensely personal lyrics about relationships, loneliness, addiction, self-destruction, fear of loss and attempts to start life over again.
Tri Dnya Dozhdya gained widespread recognition through songs such as Demony, Gde ty, Vsyo iz-za tebya, Vydykhay, Otpuskay, Za kray, Proshchanie and other releases. The project’s main discography includes the albums Lyubov, addiktsiya i marafony, Kogda ty otkroesh glaza, Baypolar, melancholia and Viskholding.
Gleb Viktorov and his path to music
Gleb Viktorov was born on February 20, 1996 in Kyzyl, Republic of Tuva. His professional path began not with a rock band, but with electronic music and hip-hop production.
Viktorov made beats and worked under the alias tranqsad. Beatmaking gave him his first practical skills in music production: working with rhythm, arrangement, programming and song structure.
Over time, however, his interest in guitar music became stronger. His decision to move toward rock was influenced both by the classic alternative scene and by a new Russian-language wave that showed guitar music could once again reach a young mass audience. Viktorov himself named «Poshlaya Molly» and Mukka among the artists who were important to this transition.
Tri Dnya Dozhdya therefore did not emerge from a traditional rehearsal room where several musicians form a band together. It grew out of the production-based thinking of a single songwriter. That characteristic remained important later as well.
The emergence of Tri Dnya Dozhdya
In 2019, Viktorov began releasing his own guitar-based music under the name Tri Dnya Dozhdya. One of the first key releases was the track Osen i alkogol.
At first, Tri Dnya Dozhdya was specifically Viktorov’s stage name. He wrote the music himself and defined the direction of the project, while a permanent group of musicians formed around him later.
The early recordings already established the main elements of the future style: distorted guitars, simple and instantly memorable melodies, electronic details and emotional vocals. The lyrics were especially important. Viktorov did not write abstract rock poetry, but short personal stories using the language of a generation that grew up simultaneously with rock, rap and social media.
Lyubov, addiktsiya i marafony
In February 2020, the debut album Lyubov, addiktsiya i marafony was released.
Despite Gleb Viktorov’s background as a beatmaker, the record already belonged to the guitar-oriented side of his work. Alternative rock was combined with techniques characteristic of contemporary digital music: compact arrangements, processed vocals and structures designed for immediate emotional impact.
The album centred on relationships and the psychological state of a person caught inside a destructive emotional bond. In Viktorov’s lyrics, love almost never exists separately from jealousy, addiction, alcohol, insomnia and a feeling of inner emptiness.
One of the most notable songs of the early period was Demony. The recording helped take the project beyond its initial online audience and became one of the first tracks firmly associated with the name Tri Dnya Dozhdya.
Pepel and the first concerts
Later in 2020, the EP Pepel was released. During this period, tracks such as Begi ot menya, Tebya lyubit and Privychka appeared.
At the same time, the music began moving from a primarily studio-based project into a live format. This required musicians capable of transforming Viktorov’s layered home arrangements into a live rock sound.
The collaboration with guitarist Daniil Baslin proved particularly important. His involvement made the guitar parts and arrangements technically more complex and gradually brought Tri Dnya Dozhdya closer to becoming a full band.
Other musicians later joined the project’s live core. Viktorov nevertheless retained his position as the main songwriter, vocalist and creative centre.
Kogda ty otkroesh glaza
The real breakthrough came after the release of the second studio album Kogda ty otkroesh glaza on June 4, 2021.
On this record, the early Tri Dnya Dozhdya formula became much more confident. The guitar sound grew heavier, the vocals more emotional, and the songs gained clearer choruses and stronger live dynamics.
The album included Esli ya umru, Kosmos, Gde ty, Vsyo iz-za tebya, Voda and other tracks. Guest artists included Mukka and Masha Hima.
Gde ty became especially important — one of the songs that established the group’s recognisable style: an almost intimate verse opening into an emotional guitar-driven chorus.
After its release, the album climbed into the upper part of the Russian Apple Music chart, while the project’s audience grew rapidly. Tri Dnya Dozhdya finally stopped being perceived solely as the internet project of a single musician.
Why Tri Dnya Dozhdya became a band
The transition from a solo project to a group happened gradually, which is why the definition of Tri Dnya Dozhdya remained ambiguous for a long time.
At the beginning of the career, almost all the music was created by Gleb Viktorov. Later, other musicians became increasingly involved in arrangements and recordings, especially Daniil Baslin.
Viktorov himself never hid the fact that he viewed Tri Dnya Dozhdya primarily as his own music. This model resembles projects built around a permanent frontman and songwriter, while studio and live work is carried out together with a complete musical team.
For that reason, it is accurate to call Tri Dnya Dozhdya a band while also acknowledging Viktorov’s special role as founder, principal songwriter and artistic director of the project.
Baypolar
The next major work was the album Baypolar, released in 2022.
It continued the development of Tri Dnya Dozhdya’s emotional alternative rock, while becoming larger in scale than the previous album both in terms of arrangements and the number of guest performers.
One of the main singles of the period was Vydykhay, recorded with Zivert. The combination of two significantly different vocal styles allowed the group to reach listeners who previously may have had little connection with the alternative rock scene.
Even more important to the catalogue was Otpuskay. The song became one of Tri Dnya Dozhdya’s biggest hits and one of the band’s central live tracks.
At the heart of the song is a conflict typical of Viktorov: the protagonist understands that the relationship is destructive but remains emotionally unable to break away from it. A simple structure and powerful chorus allowed the track to work equally effectively through headphones, on streaming playlists and in large concert venues.
Baypolar also featured Trinadtsat Karat, LYRIQ, Lali, Brutto and other performers. As a result, the album became connected with several directions of the contemporary Russian-language music scene at once.
The growth of the live scale
Following the success of Kogda ty otkroesh glaza and Baypolar, the live audience of Tri Dnya Dozhdya expanded dramatically. The project moved from club performances to large halls and major festival stages.
The live versions of the songs became an important part of the group’s identity. The studio recordings are often relatively concise, but on stage the material gains heavier guitars, live drums and significantly more aggressive vocals.
It was the concerts that ultimately established Tri Dnya Dozhdya in the public perception as a rock band rather than a solo performer accompanied by guest instrumentalists.
The 2023 hiatus
In the summer of 2023, the group went through a serious crisis. After an unsuccessful concert in Yekaterinburg, where Gleb Viktorov was unable to perform properly, further shows were temporarily cancelled.
The project went on hiatus while Viktorov focused on restoring his health. For the musical history of Tri Dnya Dozhdya, this period was important not so much because of the scandal itself as because of its consequences: after the return, the content of the songs began to change noticeably.
Whereas self-destruction had previously often appeared in the lyrics as part of a romanticised rock image, later works increasingly treated it as a problem from which a way out had to be found.
melancholia
In the autumn of 2023, the group returned with the album melancholia.
The record was released on October 20 and included ten tracks. Among them were Vdokh, Nenavizhu byt soboy, Ele dysha, Proshchanie, Idu za toboy, Za kray and Kristallicheskie lyarvy.
Guest performers included LYRIQ, MONA and Trinadtsat Karat.
melancholia differs noticeably from the more straightforward romantic drama of the early releases. Viktorov began writing less about a specific partner and more about his own state, addiction and the inability to separate a real person from the object of a painful attachment.
The songwriter later explained that many of the album’s images were connected with his own experiences from that period, even though the songs often present them through the traditional lyrical address to a woman.
For this reason, melancholia can be regarded as one of the group’s transitional releases: the earlier emotional intensity remained, but the songwriter’s attitude toward his characters and their destructive behaviour became significantly less romanticised.
Za kray and Proshchanie
One of the central tracks of this phase was Za kray. It clearly demonstrates the combination of Tri Dnya Dozhdya’s guitar foundation with more contemporary electronic production.
The song Proshchanie, recorded with MONA, also became highly popular. The dialogue between the two vocalists expanded Viktorov’s usual perspective on broken relationships: instead of a one-sided monologue, the song works as an emotional confrontation between two characters.
Such duets became one of the characteristic features of Tri Dnya Dozhdya’s later discography: the guest performer is used not simply to add another name to the release, but to change the dramatic structure of the song itself.
Temperatura, Zemlya and other works
In 2024, the group continued releasing standalone singles and collaborations.
One of them was Temperatura with polnalyubvi. Eva Gurari’s fragile vocal style and Viktorov’s strained voice created a characteristic contrast between almost fairy-tale-like melody and a heavy emotional atmosphere.
Tri Dnya Dozhdya also recorded their own version of Zemlya by the band Masha i Medvedi together with Tosya Chaikina. The track became part of the soundtrack to the series Amura.
Another notable project was Tri dnya do vechnosti with Sergey Bobunets. As part of a musical exchange, Tri Dnya Dozhdya recorded their own interpretation of Vechno molodoy by Smyslovye Gallyutsinatsii, while Bobunets turned to material from the project itself.
These releases emphasised Tri Dnya Dozhdya’s connection not only with the young alternative scene, but also with the Russian-language rock tradition of previous decades.
MUZ-TV recognition
In 2024, Tri Dnya Dozhdya received the MUZ-TV Award in the Best Group category.
The award became an important symbolic milestone. A project that had begun as the music of a former beatmaker and developed largely through the internet and streaming services was now recognised by the mainstream music industry.
The following year, the version of Zemlya recorded with Tosya Chaikina received the MUZ-TV Award in the Best Cover Version category.
Viskholding
On April 18, 2025, Tri Dnya Dozhdya released their fifth studio album, Viskholding.
The record marked a noticeable change in tone. Whereas the project’s early music was often built around an immediate emotional explosion, here there was more room for quieter sections, memories and attempts to look at the past from a distance.
The album included 14 tracks, among them Privet, Na Begovoy, Ne ochen, Khlorka i vanil, Skuchayu po tebe, Sotni gortenziy, Viskholding, Fevral and Ni razu ne possorilis.
The word «viskholding» comes from the English term withholding and, in the context of the album, refers to emotional distancing, an inability to openly express feelings and a conscious or unconscious withdrawal from contact.
For Viktorov’s songs, this idea is a natural one. Almost the entire earlier Tri Dnya Dozhdya discography centres on people who simultaneously seek intimacy and try to escape it. On Viskholding, this conflict becomes almost the central concept of the entire album for the first time.
At the same time, the record does not abandon the group’s recognisable sound. Guitars, electronic processing and Viktorov’s characteristic vocal style remain, but the space between the loud climaxes becomes much more important.
New music after Viskholding
After the fifth album, Tri Dnya Dozhdya did not stop working in the studio and continued releasing standalone tracks.
Subsequent releases included Nonstop Obsession and Kontrakt with Slem, followed in 2026 by the collaboration Posle menya with TRITIA and the group’s own singles Chyortova vesna, Khoroshiy malchik, Povod and Ne smotri naverkh.
These works show an increasing fusion of guitar-based and electronic elements. Tri Dnya Dozhdya depend less and less on one specific form of alternative rock: programmed rhythms, synthesizers and techniques borrowed from hip-hop and contemporary pop can coexist with live instruments.
This development feels like a natural continuation of Viktorov’s biography. He came to rock from beatmaking and never completely abandoned a producer’s way of thinking.
The musical style of Tri Dnya Dozhdya
The foundation of the group’s sound is alternative rock, although Tri Dnya Dozhdya differ noticeably from traditional Russian rock.
Viktorov belongs to a generation of artists for whom the genre boundary between rock, rap and pop is no longer fundamental. A guitar riff can therefore coexist with electronic drums, processed vocals with live percussion, and a rock-song structure with production methods associated with contemporary hip-hop.
From alternative rock, the group takes distorted guitars and emotional dynamics. From emo and pop punk come openness about personal feelings and a tendency toward large choruses. Hip-hop production contributed concise arrangements, attention to bass and the habit of treating the voice as part of the overall sound design.
As a result, Tri Dnya Dozhdya do not attempt to recreate Russian rock of the 1980s or 1990s. This is guitar music shaped entirely within the streaming era.
Gleb Viktorov’s lyrics
The main constant throughout the catalogue remains the lyrics of Gleb Viktorov.
He rarely uses complex literary constructions. On the contrary, many songs are built around deliberately simple, almost conversational phrases. Their strength lies not in metaphorical complexity, but in the precision of the emotional state they describe.
The main themes repeat from album to album: painful love, dependence on another person, loneliness, guilt, fear of abandonment, the desire to disappear, self-destruction and the inability to finally end a relationship.
At the same time, the songwriter’s perspective changes over time. In the early work, a destructive lifestyle often forms part of the romantic world of the protagonist. On melancholia, the consequences of that behaviour become much more visible, while Viskholding is built to a significant degree around an attempt to understand past experience and leave the old cycle behind.
This continuity makes it possible to view the albums of Tri Dnya Dozhdya not simply as collections of individual songs, but as an ongoing authorial story.
Tri Dnya Dozhdya discography
Studio albums
- 2020 — Lyubov, addiktsiya i marafony
- 2021 — Kogda ty otkroesh glaza
- 2022 — Baypolar
- 2023 — melancholia
- 2025 — Viskholding
EPs and special releases
- 2020 — Pepel
- 2023 — Akustika
- 2024 — Tri dnya do vechnosti — collaborative project with Sergey Bobunets
Selected songs
- Osen i alkogol
- Demony
- Ne kiryay — with Mukka
- Tebya lyubit
- Esli ya umru
- Gde ty
- Vsyo iz-za tebya
- Voda — with Mukka
- Vydykhay — with Zivert
- Otpuskay
- Ya i odinochestvo
- Za kray
- Kristallicheskie lyarvy
- Proshchanie — with MONA
- Temperatura — with polnalyubvi
- Skuchayu po tebe — with Neispravnost
- Zemlya — with Tosya Chaikina
- Privet
- Viskholding
- Khoroshiy malchik
- Povod
- Ne smotri naverkh
The significance of Tri Dnya Dozhdya
The emergence of Tri Dnya Dozhdya coincided with a noticeable revival of interest in guitar music among younger listeners. However, the project’s success did not come from attempting to restore an older rock scene, but from the fact that Gleb Viktorov approached rock as a musician of a different generation from the very beginning.
His experience as a beatmaker allowed him to freely use methods from hip-hop and electronic music without seeing them as incompatible with guitar-driven sound. At the same time, the emotional directness of the lyrics made the songs accessible to an audience accustomed to discovering music through streaming services and social media rather than through traditional rock infrastructure.
Tri Dnya Dozhdya therefore became one of the projects that demonstrated what Russian-language rock can look like in the digital era: without an obligatory connection to the aesthetics of previous generations, but while preserving live instruments, a strong frontman and songs designed for large concert halls.
The project’s history also demonstrates the gradual evolution of the songwriter himself. From the first songs about love and self-destruction, through the major success of Baypolar and the heavy atmosphere of melancholia, the music moved toward the more reflective Viskholding and the continued search for a new sound.
Despite all these changes, the central figure remains the same: Gleb Viktorov continues to define the lyrics, vocal style and overall direction of Tri Dnya Dozhdya, while collaboration with permanent musicians and producers allows the project to exist simultaneously as the personal music of one songwriter and as a full rock band.
