Alexander Zaitsev's new instrumental recording refers to modern spirituality as a faint, flickering light in a tunnel. Some other Russian electronic releases this week concur.
Marxist rhetoric, when addressing social change, likes to codify the passage of quantitative civic changes as qualitative. Four new recordings from Russia and Lithuania adopt the same spirit.
This week a handful of recordings in Lviv, Novosibirsk, and Omsk all struggle to remain optimistic. A number of material obstacles stand between a sunny view of the future and its realization in actuality.
As a range of obstacles, both private and professional, stop musicians from working uninterrupted, diligence acquires a new significance. It becomes a form of transcendence, far above material woes.
Several new Russian electronic recordings display an increasing gratitude for both solitude and silence. The further one happens to be from clamorous modernity or a capital city, the better.
New drone and industrial recordings from Russia and Ukraine turn their attention simultaneously to anxiety and depression. Both, perhaps, indicate dissatisfaction - and therefore a burgeoning hope.
New electronic recordings from Belarus, Russia, and Ukraine - via Berlin - question the liberties of commercial and noncommercial enterprise. The same questions are framed ecologically.
Four solo electronic projects from different Russian cities display varying degrees of displeasure with actuality. As faith in civic promise dwindles, the need for wistfulness to provide a valid alternative grows.
The Mental Force Music Festival takes place in Minsk on May 22-23. It is designed both to showcase the best of Belarusian electronica and discover some productive overlap with Western colleagues.
Placed end to end, four new electronic recordings from Russia and Belarus advocate a retreat into silence. Nothingness holds more appeal than specificity.