Four December rock recordings from St. Petersburg and Izhvesk ponder some markers of adult success, such as generic clarity and domestic success. With questionable romance, all are dismissed.
А sneaking suspicion that actuality is increasingly loud and intolerant leads to the search for other options: quieter love songs, wanton surrealism, or an escape into the realm of virtual bands.
Two of these ensembles borrow from a folk heritage; the other two have their roots in recent rock music. The former pair manages to foster a sense of optimism; the latter falls to growing fatalism.
These five collectives have various ways of interpreting the future. It is viewed in terms of patience or a distant horizon. Others, less hopeful, prefer retrospection, psychedelia, and total despair.
The gallows humor in much Russian songwriting today bears a grain of truth. Grim quips about social existence come from a genuine dissatisfaction; as a result, collegiality is valued highly.
Unrelated materials from Kiev, Donetsk, Moscow, and St. Petersburg offer an insight into some social failings. Four projects all endorse the benefits of solitude, far from social crudity.
The noisy garage rock of two young Russian bands is, unexpectedly, a reaction their anxieties. Some grand alternatives to despair - fantasy and boundless optimism - also run into various problems.
The problems of an ailing music industry are considered by several young projects. The solution to a depressing social realm comes in treating music as a tool of self-improvement.
The Schilling Music Festival in Estonia likes to advertise itself in terms of a quiet retreat from showbiz. Nonetheless, several of the local bands embody a spirit of professional persistence.
Following a series of awards in the Belarusian press, we look at four projects from around the country. What has rock music meant to them and does it still have any connection to the past?