Our interlocking and semi-improvised recordings from Moscow's underground rock scene still give voice––in 2016––to some very old dilemmas indeed.
The Microfunk label in Saint Petersburg has decided to archive and advertise some of its premium material from recent years. The reasons for doing so are locally specific.
From one industrial city in Southern Siberia comes a wide range of noise experiments, informed by their social surroundings. Clamor fades into calm.
Four new acoustic releases have roots in very diverse towns, all the way from Magadan to Kharkiv. What they share is a desire to hide from crude actuality.
Toying with the basic structures of techno or glo-fi, four new recordings from Siberian artists consider a different kind of escapism. Psychology slowly takes the place of dance-floor frippery.
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.
The theme of time is foregrounded by several new publications, but their authors remain unsure of an ideal outlook: forwards to the future––or back to a superior past?
Four dance floor publications from Moscow, Krasnodar, Tula and––eventually––Syktyvkar are dedicated to difference. They consider the risks inherent in novelty.
As Russia struggles with economic disarray, four rock recordings across the country ponder the role of songwriting as an alternative expression of "law and order."