Four dance floor publications from Moscow, Krasnodar, Tula and––eventually––Syktyvkar are dedicated to difference. They consider the risks inherent in novelty.
A series of new publications from St. Petersburg, Moscow, and provincial Belarus all give thought to the slimmest of differences between matters "cosmic and comic."
New instrumental or hypnagogic recordings from Naberezhnye Chelny, Ulan-Ude, Moscow, and Dnipropetrovsk are all dedicated to silence. Dreamers need peace and quiet.
Using either canonical or peripheral dance-floor sounds, four publications from Russia and Ukraine consider the growing "pressure" of stately intent upon private whim.
Although none of these recordings are dance music in the strictest, most canonical sense, their dalliance with rhythmic escapism and abandon is crucial.
As a series of new recordings take inspiration from the melancholy romance of Soviet pop music, the question arises: what about tomorrow?
The city of Yekaterinburg has a proud connection to the rock and protest songs of perestroika. Do any local bands from that city share the same convictions today?
The future can be unpredictable in Eastern Europe. Four new recordings visualize tomorrow as a road movie, a winding or rocky passage, and a dead end. Hope is needed.
The Belarusian magazine Experty.By has compiled a series of Top Ten lists, cataloging the best bands and recordings of last year.
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.