Recent industrial publications from Kiev (via Vienna) and Moscow (via Omsk) juxtapose a factory-floor aesthetic with regional, chronically ailing networks
From one industrial city in Southern Siberia comes a wide range of noise experiments, informed by their social surroundings. Clamor fades into calm.
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?
The two newest FFM releases have direct connections to the Russian capital. One has slowly moved towards Moscow; the other hopes somehow to escape.
A modest experiment on Moscow's music scene has spawned a great deal of attention. "Science and Art" (NII) has also fueled a couple of vital labels.
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.
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.
Moscow's Hyperboloid label has a New Year's compilation to announce, including six tracks from Raumskaya, Cadeu, Koloah, Fisky, A.Fruit, and Baked Milk.
Across the varied contexts of cyberpunk narratives, trash TV, driving Moscow techno, and religious satire runs a common theme. The value of humility.