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TOP-10

1
Saint Petersburg, Russian Fed.
2
Omsk, Russian Federation
3
Novosibirsk, Russian Federation
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Omsk, Russian Federation
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Omsk, Russian Federation
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Omsk, Russian Federation
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Magadan, Russian Federation
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Kharkiv, Ukraine
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Moscow, Russian Federation
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Kiev, Ukraine

Genres

Dance

The Microfunk label in Saint Petersburg has decided to archive and advertise some of its premium material from recent years. The reasons for doing so are locally specific.

Electronic

From one industrial city in Southern Siberia comes a wide range of noise experiments, informed by their social surroundings. Clamor fades into calm.

Pop

Four new recordings from Siberia, Karelia and Saint Petersburg try to contradict actuality with unique daydreams and fantasies. Not all of them work.

Rock

Our interlocking and semi-improvised recordings from Moscow's underground rock scene still give voice––in 2016––to some very old dilemmas indeed.
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..."