Four electronic publications from Moscow and Yekaterinburg express concerns over the noise and crudity of present-day experience. As a result, retrospection and nostalgia both have appeal.
Four very different recordings - spun from a lo-fi lyricism, '80s synth-pop and abstract beats - all look askance at the future. Various kinds of reflection and retrospection seem increasingly appealing.
A lyrical strain runs through some Russian rock releases this week. It begins with wistful dreams of leaving home - and moves with increasing satisfaction to distant planets or a bottomless ocean.
As the Baltic press lists some promising names for the forthcoming musical year, a key question poses itself. Should younger artists promote their uniqueness or similarity with existing trends?
These four new releases from Russia and Ukraine all lean towards a validation of smallness. There are various reasons not to be loud, arrogant, and self-assured. Local history is one of them.
Four melancholy releases all find solace by imagining a grander, quieter realm. Private anxieties fade away. The same consoling process is evident in new folk recordings, born of a parallel experience.
One of the more enduring assumptions or stereotypes regarding Slavic songwriting would be that of sadness, if not misery. When melancholy does indeed make an appearance, what form does it take?
Ranging from lo-fi wistfulness to noise-rock, these four collectives all look askance at social life. The only way for them to make sense of the outside world is through recourse to senselessness.
The Estonian label Ounaviks continues to produce a wide and wonderful range of folk reinterpretations for a new generation. From within that antique heritage comes a reconsidered worldview.
From St. Petersburg to Vladivostok, four lyrical songwriters consider the benefits of stagecraft over actuality. Imagination enjoys more freedom behind a writing desk or beneath limelight.