Minimalism is related both to constraint and wariness. Insight comes from excess – from too much and its obligatory failure(s), in service of the new.
Known in creative circles simply as OL, Oleg Buyanov has a debut (and double) album to announce on Moscow's influential GOST ZVUK Records. Entitled "Height Differences" in English (Перепад Высот), it is described as "a reconsideration of late-Soviet music.
Vmgnovenijah are a trio: Sasha Stroganov (guitar/vocals), Svyatoslav Vershinin (drums/percussion), and Pavel Klushnik (bass). Their ornate, almost unpronounceable stage-name is actually a deliberately odd combination of two words in Russian, which - when placed equally close in English - might read "Inmoments."
Volchok (tr: Wolf Cub) began - and endure - as a duo: Larisa Timerkaeva and Ilya Udovenko. Originally from the industrial, provincial city of Izhevsk, they both now operate from Moscow.
Olga Glazova is from St. Petersburg and a professional gusli player of growing repute. Her chosen instrument, responsible for a quintessentially Russian and supposedly pre-urban sound, is a plucked-string harp. The gusli's roots stretch back to the lyre of ancient Greece...
The very British wordplay behind "Ponty Mython" belongs, in fact, to St. Petersburg native Aleksandr Pletnev, who now lives in the Lithuanian capital, Vilnius. His newest house release, "The Tropic of Capricorn EP," emerges this month on the heels of a tellingly brief interview for Test Press. Diligence takes the place of any wordy self-congratulation. A few pithy examples will prove the point.
The phrase "Remember Your Name" (Pomni imya svoe) comes from a rather severe Soviet movie of 1974, set amid the horrors of World War Two, specifically in frontline suffering and in concentration camps.
A compilation album showcasing new electronica from Krasnodar not only advertises a reputable academy in 2017. It is also inspired by a vinyl past.
Two important compilations of late have very diverse origins: indie tape music and downtempo idm or glitch. They are both, however, fueled by a lasting desire to be somewhere else
Recent industrial publications from Kiev (via Vienna) and Moscow (via Omsk) juxtapose a factory-floor aesthetic with regional, chronically ailing networks