Having grown up with the deeply negative traditions of black metal, these bands realize that a nihilist rejection of everything can have positive results.
New garage, stoner, and doom rock recordings express a growing tension between dreams and actuality. The responses range from desperation to indifference.
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.
In June a music event called "Pain Fest" will celebrate rock music from Serbia, Belarus, and - most importantly - Siberia. The bands from that part of Russia cultivate a link to the punk traditions of their home.
A few days ago, the Belarusian magazine Experty.BY announced a series of awards, dedicated to the best domestic music of last year. A wide range of prizes were involved, defined in terms of format or genre.
An air of social disappointment hangs over these recordings, made primarily in Saint Petersburg. As adult experience appears to offer little, the importance of prior cultural landmarks only starts to grow.
Fading faith in modern life or politics leads these ensembles to look elsewhere for superior values. Better ideas are found in shamanistic culture, experimental drugs, and other distant realms.
From Siberia to Moscow - and even Kiev - a series of new releases admit openly to the influence of Western music from prior decades. A dissatisfaction with the here and now prompts lasting retrospection.
Surrounded by a series of failing support systems, be they social or financial, four Russian ensembles turn to themes of family. In difficult times, thoughts of friends and colleagues grow more important.
This Siberian trio comes from the city of Tomsk. The local scene is not promising, yet that brings a strange advantage. In a place where there's nothing to gain, there's also nothing to lose.