In four new recordings from Russia and Belarus, thoughts of the future predominate. As tomorrow looks unpredictable, childhood and adolescence gain a special importance.
Two all-female Russian outfits sing of human relations with bittersweet humor. Placed together with other releases this week, their knowing smiles become an overarching social skepticism.
Various professional challenges emerge in these Russian recordings; most of them have connections to outside, social realia. It's only beyond the border––in Estonia––that civic pressures ease.
The Belarusian label Ezhevika has just published a compilation album, "I MIRACLE." It gathers nineteen recordings from towns both near and far; together the tracks create a workplace philosophy.
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.
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.
From Russia, Ukraine, Belarus, and Lithuania come four responses to the drudgery and dead weight of quotidian experience. The most satisfying among them involve looking backwards.
Fantasy and the imagination are key aspects of these new recordings from Russia, Ukraine, and Belarus. Their joint celebration of oddity simply highlights an ongoing disappointment with normality.
Faith in social spheres is a theme discussed in new material from Moscow, Kiev, and a range of Estonian towns. Not everybody shares an optimistic view of audiences and other noisy collectives.
One of the biggest - and most basic - choices faced by a Slavic band today is that of language. The same choice is often dictated by assumptions of better job options, either abroad or at home.