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?
New instrumental or hypnagogic recordings from Naberezhnye Chelny, Ulan-Ude, Moscow, and Dnipropetrovsk are all dedicated to silence. Dreamers need peace and quiet.
The new LP from Sal Solaris is dedicated to transgression, both in sound and society. Other electronic releases from various Russian cities ponder similar themes.
Improvisation plays a key role in a range of new electronic publications. All of them invite listeners to look beyond convention––and therefore far beyond nameable experiential states.
Against the backdrop of East European political and economic challenges, four recordings ponder the appeal of deconstructive gestures––rather than stately pomp.
Two noise projects in Moscow see a connection between their recordings and the nation's social fabric. Similar ideas transpire far away––in Siberia's "Vovne" group.
Two of Russia's most significant independent labels––Electronica and Full of Nothing––have begun the New Year with simultaneous compilation albums.
One primary impulse in contemporary East European music is the desire for soundscapes to counter actuality. Four new recordings look askance at whatever is going on outside the front door.
New drone and industrial recordings from Russia and Ukraine turn their attention simultaneously to anxiety and depression. Both, perhaps, indicate dissatisfaction - and therefore a burgeoning hope.