The Subwise label in Saint Petersburg remains as busy as ever. We have chosen seven new releases from Russian and Ukrainian artists, as proof that a common worldview is developing among them all.
Against the backdrop of recent geopolitical events, one might understand why minorism would have a marked appeal. Four collectives from Russia, Ukraine, and Estonia place smallness front and center.
A couple of northern projects look with fondness at Soviet culture, given the failings of the present day. More powerful than childhood retrospection, however, is the invocation of an ancient tradition.
Two new releases from FFM originate in distant places: Novosibirsk and the Kola Peninsula, above the Arctic Circle. In both cases, the musicians' address brings more benefit than inconvenience.
Two recurring reference points in Slavic electronica are childhood and the open landscapes that symbolize an early liberty. Four new releases interweave these motifs, whilst mourning the clamor of modernity.
Four new publications, stretching from provincial Belarus to Vladivostok, look askance at social existence. The more crudity and/or banality it manifests, the more self-reliance comes to the fore.
Two new releases from FFM originate in Moscow and Kiev. A couple of solo performers travel parallel trajectories from self-doubt to a less disconcerting state, somewhere on the edge of aspiration.
Moscow's Anton Maskeliade has published recordings of his "Street Studio," in which passers-by are invited to perform whatever they want. These levels of social optimism are not widely shared.
From a series of Russian and Ukrainian towns, four new releases investigate the benefits of solitude. Introspection leads to a different type of self-promotion, in which anonymity and silence are key.
Cooper Phillip, as readers of FFM know, is a Los Angeles-based singer of Slavic roots. According to some well-worn stereotypes, Russian pessimism falls away once her career blossoms on a distant shore.