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
New publications from Anton Maskeliade and Valotihkuu have a pedagogical intent. The former artist is actually a teacher; the latter hopes to champion the importance of noiseless humility.
A range of new electronic recordings from Russia and Lithuania find increasing appeal in solitude. Belief and ideals both need seclusion.
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.
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?
New electronic and electroacoustic recordings from Russia and Belarus speak in doubting terms about the near future. Should one turn to faith––or good deeds?
New instrumental or hypnagogic recordings from Naberezhnye Chelny, Ulan-Ude, Moscow, and Dnipropetrovsk are all dedicated to silence. Dreamers need peace and quiet.
A collection of ambient and drone recordings from Yekaterinburg, Sevastopol, and Kiev share a common desire. They all express a sage preference for solitude over city life. Silence often heals.