Four days after teachers in Dagestan were told their job has no inherent worth, various new recordings investigate fantasy and (absolutely) nothing.
Russian social networks are home both to shyness and subversion. Some artists seek nameless refuge, while others plan loud protest––from nowhere.
Toying with the basic structures of techno or glo-fi, four new recordings from Siberian artists consider a different kind of escapism. Psychology slowly takes the place of dance-floor frippery.
The recordings under consideration all speak in favor of humility and various forms of dialog. Current actuality, however, tends to prefer a strident monolog.
New instrumental or hypnagogic recordings from Naberezhnye Chelny, Ulan-Ude, Moscow, and Dnipropetrovsk are all dedicated to silence. Dreamers need peace and quiet.
A new label in Moscow––Terminal Dream––is dedicated to local ambient artists. Brought together, they reveal some common ideas about sound, space, and purpose.
Amid four Russian and Ukrainian projects there emerges a telling view of lyricism in modern pop music. A three-minute, micro social narrative is more satisfying than society itself.
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.
The Belarusian label Ezhevika has just published a compilation album, "I MIRACLE." It gathers nineteen recordings from towns both near and far; together the tracks create a workplace philosophy.
This week a handful of recordings in Lviv, Novosibirsk, and Omsk all struggle to remain optimistic. A number of material obstacles stand between a sunny view of the future and its realization in actuality.