Four new publications, stretching from provincial Belarus to Vladivostok, look askance at social existence. The more crudity and/or banality it manifests, the more self-reliance comes to the fore.
As the socioeconomic situation worsens in Russia, so do attitudes towards society. Civic activity promises less and less. Consequently, several artists speak in support of minimal interaction.
New dancefloor offerings from Russia and Estonia struggle with viable forms of optimism. "Escapism" becomes less a matter of hedonism and more a conscious response to unsatisfying actuality.
Moscow's Highway Records is publishing a collection of deep- and tech-house tracks from around Russia. One commonality between the participants is an endorsement of self-education and diligence.
The importance of silence and solitude appears in four new publications. They emerge across considerable distances, all the way from some lightless forests in Karelia to the quieter, cobbled streets of Ukraine.
In Moscow, St. Petersburg, Perm, and Krasnodar a range of programmatic statements emerge from disparate musicians with new work. They all champion the creative process over any crude, material consequence thereof.
A Moscow EP and a Kiev LP together offer a dancefloor philosophy in troubled times between Russia and Ukraine. The five artists involved suggest that private virtues might improve public norms
Various professional and social difficulties lead four electronic musicians from Russia and Belarus to celebrate solitude, peace, and quiet. A distance from social life appears to produce superior sounds.
Sergey Shyam runs a Moscow label called "Simple Things." Its core beliefs in collegiality and understatement are mirrored in other house and tech-house cuts this month, all published very far away.
The work of Belarusian folktronica ensemble Shuma (Šuma) is defined with an intriguing turn of phrase: "digital archaica." A new collection of remixes helps to explain that bond of tradition and hi-tech.