Criticism of professional options in Russia and Ukraine is countered with a series of alternatives: psychedelia, fantasy, emigration––and virtual reality.
Two of Russia's most significant independent labels––Electronica and Full of Nothing––have begun the New Year with simultaneous compilation albums.
An interwoven network of musicians in Saint Petersburg unveils a series of publications––almost simultaneously. Perhaps unsurprisingly, they all share common ideas and convictions.
Across the varied contexts of cyberpunk narratives, trash TV, driving Moscow techno, and religious satire runs a common theme. The value of humility.
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.
Moscow's Hyperboloid label releases a new compilation, dedicated to the noisy residents of Russia's "cyberghetto." That neologism has several meanings, both local and international.
One of the most enduring motifs of Soviet culture within Russian popular music has been the so-called "Space Race"––the competition between Moscow and Washington to explore the cosmos.
All the way from Moscow to the villages of Siberia, a common idea finds voice in a handful of dance floor publications. In four of these releases, the romance of nostalgia and happy stasis proves most persistent.
As new recordings appear for dance floors across Russia and Ukraine, one would expect hedonism and jollity to predominate. The challenges of a touring musician quickly change the mood.
Marxist rhetoric, when addressing social change, likes to codify the passage of quantitative civic changes as qualitative. Four new recordings from Russia and Lithuania adopt the same spirit.