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Audio

Cream Soda – Dealer (feat. Valery Rousseau)
Naadya – Zhalost' (Pity)
Mamanet – After Stereo

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Nizhnekamsk, Russian Fed.
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Saint Petersburg, Russian Fed.
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Novosibirsk, Russian Federation
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Saint Petersburg, Russian Fed.
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Novosibirsk, Russian Federation
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Moscow, Russian Federation
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Moscow Region, Russian Fed.
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Moscow, Russian Federation
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Moscow, Russian Federation
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Saint Petersburg, Russian Fed.

Genres

Dance

Using either canonical or peripheral dance-floor sounds, four publications from Russia and Ukraine consider the growing "pressure" of stately intent upon private whim.

Electronic

A collection of ambient and drone recordings from Yekaterinburg, Sevastopol, and Kiev share a common desire. They all express a sage preference for solitude over city life. Silence often heals.

Pop

Four recent publications from solo artists in both Russian jazz and pop music are dedicated to themes of individual effort––and the related risks thereof.

Rock

The traditions of Slavic rock are––even today––likely to be associated with wordy, political agendas. Four new recordings, however, pay more attention to silence.
Clonki's music is dedicated to the fading fragments of some elusive majesty. Hints of something bigger and better than daily experience are both found and voiced; the work of a producer starts to suggest that of an archaeologist. Martinovich has spoken before of his desire to create "crunchy, heavy beats, together with a deep bass and all kinds of samples. As a rule, it's all spiced up with lo-fi sounds and crackling noises..." The interrupted signals of a limping, almost lost melody.
One of the longest acquaintances on FFM has been with the multiple projects of Moscow's Dmitry Peitsch. Hard financial times are producing another generation of protest songs or––at the very least––an embrace of noise, pure and simple.
Pur:Pur are a duo from the Ukrainian city of Kharkiv: Nata Smirina and Yevgeny Zhebko. Not surprisingly, they are usually joined on stage by several colleagues. Most important among them at the moment are drummer Grigory Oleinik and bass player Ivan Senyuk. Two enduring or trademark aspects of the ensemble's style would be Smirina's guileless vocal stylings and Pur:Pur's overall penchant for acoustic performance.
Speaking recently to the Belarusian press, Goron talks of his collaboration with Aortha. "Dzmitry and I are are surprised that our work is enjoying a positive reaction. People are both 'liking' and reposting the tracks online. I wouldn't say that I'm creating anything terribly unique here... But [in any case], this all began at the presentation of somebody's book in Minsk, and Dzmitry was performing as the guest DJ. I just went along to kill some time. We met at the event - and it turned out Dzmitry had long admired my texts. And then, when I heard his set, it seemed that Aortha's sounds were an equivalent to my words. All in all, it was something of a fateful meeting..." The sounds of urban dead-end existence would frame the language of a similar concern: Aortha and Goron found common ground and related noises. The theme of presentism emerged once more - in the face of certain civic "inevitabilities." As a little extra context, Goron then adds: "It seems our new EP called 'Dvoe' has plenty to say about anticipation [in life] and about the beauty of a single moment..."