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.
New dancefloor publications from both solo artists and ensembles this week underscore the importance of support systems, either in childhood or when professional obstacles loom later on in life.
As a British newspaper suggests that nostalgia in Russian popular music is inherently political, an alternative viewpoint arises. Many young artists fondly recall a time, rather than an ideology.
As a range of obstacles, both private and professional, stop musicians from working uninterrupted, diligence acquires a new significance. It becomes a form of transcendence, far above material woes.
Faith is an integral part of Moscow's Gayana project, whose members are both grateful and committed to God. Other beliefs, however, transpire in releases from Ukrainian and Latvian musicians this week.
From downtempo lounge to broken techno and "psychoactive go-fi," a range of new Russian dance floor recordings prefer to celebrate private, rather than public effort.
New electronic material from Ukraine, Russia, and Estonia touches upon the demise of military, industrial, and economic rhetoric. Their shared insistence is countered with a love for nothing in particular.
Moscow's FORMA festival just took place and - with its interdisciplinary celebration of modern Russian art - engendered some interesting views of creative "labor" among its many participants