Olga Glazova is from St. Petersburg and a professional gusli player of growing repute. Her chosen instrument, responsible for a quintessentially Russian and supposedly pre-urban sound, is a plucked-string harp. The gusli's roots stretch back to the lyre of ancient Greece...
Recent industrial publications from Kiev (via Vienna) and Moscow (via Omsk) juxtapose a factory-floor aesthetic with regional, chronically ailing networks
New publications from Anton Maskeliade and Valotihkuu have a pedagogical intent. The former artist is actually a teacher; the latter hopes to champion the importance of noiseless humility.
Krasnoyarsk's Klammklang label has become the region's primary outlet for tape music. What, however, is the rationale or philosophy behind such an outmoded format in 2016?
New electronic and electroacoustic recordings from Russia and Belarus speak in doubting terms about the near future. Should one turn to faith––or good deeds?
Four recent publications from solo artists in both Russian jazz and pop music are dedicated to themes of individual effort––and the related risks thereof.
A collection of ambient and drone recordings from Yekaterinburg, Sevastopol, and Kiev share a common desire. They all express a sage preference for solitude over city life. Silence often heals.
The St. Petersburg label Microcosmos has published three chillout recordings, examining alternative views of actuality. Alexander Saykov extends them––to Moscow.
Five new albums from the Moscow folk label Sketis manage to interweave a wealth of different times and traditions. Those linkages grow in importance as society refuses to show the same inclusiveness.
As a number of Russian, Belarusian, and Ukrainian artists consider their future plans, it transpires that the most hopeful songs grow from the greatest failures. Frustrations breed aspirations.