Recent industrial publications from Kiev (via Vienna) and Moscow (via Omsk) juxtapose a factory-floor aesthetic with regional, chronically ailing networks
New techno from Belarusian and Russian towns describes itself in neo-Marxist terms, as a repetitive or quantitative choice leading to qualitative change
A range of new electronic recordings from Russia and Lithuania find increasing appeal in solitude. Belief and ideals both need seclusion.
Either through the traditions of shoegaze or the older conventions of nocturnal and stellar imagery, four recordings look back towards a purportedly "Eurasian" form of solitude.
Four days after teachers in Dagestan were told their job has no inherent worth, various new recordings investigate fantasy and (absolutely) nothing.
Russian social networks are home both to shyness and subversion. Some artists seek nameless refuge, while others plan loud protest––from nowhere.
From one industrial city in Southern Siberia comes a wide range of noise experiments, informed by their social surroundings. Clamor fades into calm.
CXEMA (The Scheme) is an underground techno community in Kiev. Four new podcasts, each showcasing an electronic artist, are unavoidably framed by recent events.
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?
The recordings under consideration all speak in favor of humility and various forms of dialog. Current actuality, however, tends to prefer a strident monolog.