Four Russian rock publications play upon aspects of a psychedelic heritage. They either draw directly from Western traditions or extend the meaning of psychedelia from its roots in the Soviet '70s.
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.
A new Moscow EP brings together four ensembles all fronted by women - in order to celebrate March 8th. More important than either love or romance, it seems, are a range of related social issues.
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.
One of the most enduring reference points for Russian musicians over the last two decades has been outer space. The approaching New Year does little to encourage hope - and so distant planets still appeal.
Two new releases from FFM. One is Ukrainian, the other is Russian - and both are instrumental. The difference between them, genres aside, is in their attitude to the weight of the surrounding world.
Against the backdrop of a Russian tradition of politicized rock songs, four collectives in 2014 look for alternative values. They tend to be immaterial, in the best - and most romantic - sense of the word.
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.
In a world of adult responsibilities, urban anxiety, and other challenges, the spontaneous nature of childhood experience can seem very appealing. Four new recordings look back to a simpler time and place.