The passage of time leads several new electronic recordings to wax lyrical about prior decades. Of particular interest are the 1980s, when a whole generation felt itself part of a fading social fabric.
A range of new electronic releases from Russia and Ukraine this week endorse a hushed and understated aesthetic. There's a shared conviction that greater insight lies within less noise. The quieter, the wiser.
The British magazine Wire has just published a very important and impressive compilation of new electronic music from Ukraine. Entitled "Zikro," it has been curated by Andrey Kiritchenko.
St. Petersburg's Microcosmos Records has published a chillout compilation that serves to illustrate the meaning of downtempo modes in Northern Russia. Reverie travels very far from home indeed.
Two Russian electronic recordings speak of the search for "a new language" in the gaps between various genres. They're equated with a civic absence or lack. In Estonia, two kindred recordings take a more optimistic view.
The dark, dense forests of Karelia lead the Petrozavodsk duo Love Cult to conjure an entire universe of alternative dimensions. This tendency to prejudice dreams over urban actuality is found elsewhere.
One of the more enduring assumptions or stereotypes regarding Slavic songwriting would be that of sadness, if not misery. When melancholy does indeed make an appearance, what form does it take?
In a world frustrated by the harsh extremes of actuality or unpromising hope, the ideal location will be somewhere in between. These recordings celebrate a vague realm that's neither here, nor there.
The MNMN label from Kostroma does much to promote the philosophically anxious end of Russian electronica. These four projects yearn for silence and solitude, but "fate" has other plans.
Moscow's Fancy Music encourages various trajectories: rock, jazz, electronic, and "contemporary." Some representatives of that final rubric establish a common worldview - from Siberia to New York.