When the Sochi Winter Music Conference clashed with the Winter Olympics, scheduling problems arose. The worldview of a house label associated with the SWMC is proposing a solution.
Several new Russian and Ukrainian recordings are framed by talk of professional difficulties. Failings in the outside world are countered with calm acceptance and an emphasis on introspection.
The St. Petersburg community known as "We Are Russians" is busy gathering electronic projects with a special fondness for the 1980s. The soundtrack to perestroika continues to have great relevance.
A number of publications this week display an interesting tension between grand romance and self-deprecation. By understating their heartfelt values, these artists stress a stubborn fidelity to a fading cause.
Romantic metaphors inform these new recordings, all borrowed from discussions of open forests, boundless oceans, and "schizoid" thought. Daily life, however, stubbornly refuses to cooperate.
Hoping to develop their careers in a meaningful fashion, these bands consider writing uplifting or consoling love songs. Reality, however, unfolds in strange ways and fosters a less optimistic outlook.
As performers make plans for the future, a tension arises between subjective desire and public crudity. The best way to foster hope (again) is to leave those heartless civic realms behind.
As Yungchen Lhamo and Anton Batagov promote a collaboration grounded in Tibetan prayers, other Russian artists have a different view of distant places. Hope and horror begin to alternate.
Mira Iskhome in Krasnodar releases some new recordings that are tied to Russia's southern electronic scene. For three other dancefloor publications this week, location is equally important.
Four women from Moscow, Yekaterinburg, and Saratov offer new narratives on the ongoing struggle for self-determination. Those tales of increasing dignity stretch all the way to Los Angeles.