Several new Russian and Ukrainian recordings are framed by talk of professional difficulties. Failings in the outside world are countered with calm acceptance and an emphasis on introspection.
Romantic metaphors inform these new recordings, all borrowed from discussions of open forests, boundless oceans, and "schizoid" thought. Daily life, however, stubbornly refuses to cooperate.
As Yungchen Lhamo and Anton Batagov promote a collaboration grounded in Tibetan prayers, other Russian artists have a different view of distant places. Hope and horror begin to alternate.
Moscow's Electrosound label has gathered seven drone or dark ambient compositions together. They are designed to evoke a sense of unease; slowly it becomes clear where such worries originate.
Overcamps are a young Moscow duo who declare their membership "within the capital's underground scene." For various reasons, that sense of dignified retreat proves widely appealing.
Moscow's Anise Project is fronted by Anna Volkova. She speaks of how adult experience tempers youthful fantasy. Some causes of that local fatalism are sought by other collectives in folklore.
Originating in Minsk, Saint Petersburg, Yekaterinburg, and Moscow, four new publications discuss the strange benefits of faltering and failure. In a mundane world, mistakes are a sign of uniqueness.
Downtempo, garage, and glitch-hop tracks this week are bound by their composers to forms of social skepticism. A sluggish, moribund world prompts a certain sound. Optimism emerges only slowly.
The new releases from Ty23, 4 Pozicii Bruno, Gran+, and Waterplea are all considerations of the unknown. What lies beyond a visible, tangible world is understood in differing ways.
Using the ecosphere, Orthodox Christianity, an isolated address, and other reference points, these musicians suggest there's much to be gained from abandoning the chutzpah of Moscow life.