Various professional challenges emerge in these Russian recordings; most of them have connections to outside, social realia. It's only beyond the border––in Estonia––that civic pressures ease.
Alexander Zaitsev's new instrumental recording refers to modern spirituality as a faint, flickering light in a tunnel. Some other Russian electronic releases this week concur.
The Belarusian label Ezhevika has just published a compilation album, "I MIRACLE." It gathers nineteen recordings from towns both near and far; together the tracks create a workplace philosophy.
Marxist rhetoric, when addressing social change, likes to codify the passage of quantitative civic changes as qualitative. Four new recordings from Russia and Lithuania adopt the same spirit.
From Kiev, Yerevan, Moscow, and Kazan, a range of new publications all turn to distant objects of desire. Whether that distance is temporal or spatial, it always implies dissatisfaction with the present.
New dancefloor publications from both solo artists and ensembles this week underscore the importance of support systems, either in childhood or when professional obstacles loom later on in life.
One primary impulse in contemporary East European music is the desire for soundscapes to counter actuality. Four new recordings look askance at whatever is going on outside the front door.
This week a handful of recordings in Lviv, Novosibirsk, and Omsk all struggle to remain optimistic. A number of material obstacles stand between a sunny view of the future and its realization in actuality.
From Latvia, Lithuania, and Russia, four new releases appear, all inspired by a hip-hop tradition. They also voice a connection to other musical events of prior decades - together with their social impact.
As a British newspaper suggests that nostalgia in Russian popular music is inherently political, an alternative viewpoint arises. Many young artists fondly recall a time, rather than an ideology.